View allAll Photos Tagged printing
"Stibnite"
Fun with 3D printing! Here's a stick puzzle made up of 30 identical sticks - each piece represents an edge of a dodecahedron which have been rotated by a constant angle. George Hart wrote a great paper about how to design these models: archive.bridgesmathart.org/2011/bridges2011-357.pdf
This is my entry for the Rebrick "Modular Buildings Anniversary Contest".
Check it out here ;)
"LEGO has included many printed tiles&decorations in their sets in the past. These tiles represent money, pictures, newspapers, etc. But where do they come from? Of course, from the printing office. There isn't a single printing office in LEGO City or in the Modular Buildings line, so I've decided to build one. There is a printing machine, drawer, table, and some shelves in it. I've included it in the first floor of the Brick Bank, because there is a huge open space which I think is too empty."
Canvas Printing presents your artwork with a unique sense of charm and boosts the looks of your home decor. You can count on Supreme Picture Gallery to maintain the transparency, saturation, and resolution of your work to the fullest.
Contact Supreme Picture Gallery today for one of the best canvas printing in Brampton
An old fabric/wallpaper printing block we bought last week, comprising a heavy wooden block with the design built up in metal shapes. Makes a rather lovely print, as you can see here
This was so labor intensive, having to put every word together, letter by letter, by hand......printing one page at a time......and on top of it all, the letters were backwards.
A linoleum printing block from the ¡Sensacional! exhibit of Mexican street graphics at the Yerba Buena Center in San Francisco.
Early 20th century lantern slide view of a currency printing room at the Bureau of Engraving and Printing, located just south of the National Mall. More on the history of the BEP at: www.streetsofwashington.com/2010/04/sweatshop-bureau-of-e...
10x8 inch print from 645 original neg. This camera format fits on 10x8 inch paper perfectly. Better than the others.
Taken from the local photowalk in Trondheim.
Sverresborg Trøndelag Folk Museum is the 3rd largest cultural history museum in Norway and was founded in 1909. The location around the ruins of King Sverre’s castle was utilized from 1914 on, and today the area spans more than 70 acres.
Trondheim, Norway
Found this "The dictionary of Photography", 13th edition from around 1933ish...some interesting, dangerous, smelly, and many chemical mix recipes. If you wanted to use a "flash" in those days get a mix of powder potassium chlorate and some antimony sulphide! a.k.a. flashlight 😮 don't burn the house down 😄
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Shameless plug!! Mini photo exhibit coming in March (San Francisco), and a few prints are currently available for purchase on Etsy.
The former Goole Times Printing Office, with printing works behind. The paper was originally founded in 1853 as monthly publication but by 1869 became weekly, then known as the Goole and Marshland Weekly Times. Ten years later it became The Goole Weekly Times.
Each blue box is a printing press which can print full color both sides of the newsprint paper. The Dallas Morning News has 17 presses, I think. What you don't see is that these presses are 4 stories high. It starts with a roll of paper and the press prints, folds, and collates all in one continuous process. Basically, raw material goes in, a newspaper comes out. Fascinating....
If you have time, please watch this video, especially section 3 which shows the presses as they run.
Printing process shot. This print was inspired by Sol LeWitts long instructional titles where its up to the draftsperson to determine line orientation. Nov. 2007
Let's make a prequel to the sequel, and then an equel.
There's no such thing as equel!
Not? Let's make one!
That doesn't even make sense!
Who cares? this is StarWars, the people will love it!
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I had this idea when DigiNik13 posted a star wars inspired pic and I thought by myself - took you 40 years to come up with this picture? Wait, they made a second film, didn't they? I admit that I've lost count with all those sequels, prequels and semiquels.
Toy Project Day 864
My printer finished making my samples today and emailed me this pic :) cannot wait to get them and get some more made :D
What other prints would you guys like?
I printed with a printing block using green ink and then added the picture on top. I've then added hand embroidery and coloured some of the hearts in with felt pen and watercolour
W. H. Scribner’s Art Gallery, Newton, Iowa,
Albumen silver print from a collodion glass negative, mounted on card
The sitter wears her hair parted at the center and drawn back smoothly over the temples into a low, softly arranged chignon, with deliberate looseness and flyaway texture characteristic of post–Civil War fashion.
Decorative accessories—most notably a narrow ribbon threaded with small beads and a light-colored bow placed high toward the crown—signal the mid-to-late 1860s shift away from earlier, tightly controlled hairstyles toward a more natural, romantic aesthetic.
Long pendant earrings and a large bow fastened at the throat with a brooch further anchor the image in this period: such vertical drop earrings and prominent neck bows are especially associated with the years immediately following the war, c. 1865–1870.
The overall effect is restrained but consciously stylish, consistent with mid-1860s ideals of respectable femininity.
The photograph is presented as a standard carte de visite, mounted on a pale card with double-rule borders printed in muted tones. This style of mount—simple, elegant, and unembellished—became common in provincial American studios during the later 1860s, after earlier, heavier mounts but before the more ornate and branded designs of the 1870s. The absence of elaborate printed fronts places the emphasis squarely on the portrait itself, a convention typical of the period.
Material Traces of a Social Exchange
As an object, this photograph also bears witness to its own use. Cartes de visite were made to be handled, exchanged, and kept close, and this print was almost certainly held by the sitter herself after it was produced—examined, judged, and possibly given to another person as a token of regard.
Although no identifiable biological traces survive, the photograph retains material evidence of touch and circulation in the form of softened edges, surface wear, and subtle disturbances in the image layer. In this sense, the object preserves not the body of its subject, but a record of its participation in lived social relationships, bridging the moment of its making and the present through continued physical presence rather than symbolic association.
Silver on Glass and Silver on Paper: Two Independent Systems Joined Only by Light
Mid-19th-century photography relied on silver chemistry at two distinct stages of image-making, using the same element for two different purposes. Understanding the separation between these stages—**image capture on glass** and **image reproduction on paper**—is essential both to the technology itself and to the material traces visible in surviving photographs today.
Image capture: the wet collodion glass negative:
In the wet collodion process, a sheet of glass was coated with collodion containing iodide and/or bromide salts and then sensitized by immersion in silver nitrate. This produced light-sensitive silver halides suspended within a thin collodion film on the glass surface. While the plate remained wet, it was placed in the camera and exposed.
Light reflected from the sitter passed through the lens and struck these silver compounds, creating a **latent image**—an invisible chemical alteration corresponding to the distribution of light and shadow. During development, the exposed silver halides were reduced to **metallic silver**, forming a negative image. After fixing and washing, the plate became chemically stable and insensitive to further light. At this point, the negative was complete: a durable object bearing a silver image embedded in a transparent film on glass. The glass itself served only as a support; the image resided entirely in the collodion layer.
Image reproduction: the albumen paper print:
The finished glass negative was then used to create positive prints on paper. Albumen paper was prepared by coating thin sheets of paper with egg white mixed with salts, then sensitizing the dried coating by floating it on silver nitrate. This produced a second, entirely separate population of light-sensitive silver salts, now embedded in the albumen layer on the paper’s surface.
To make a print, the glass negative was placed directly against the sensitized paper and exposed to sunlight. Light passing through the negative—strong where the glass was clear, weak where it was dense—struck the paper and caused the silver salts in the albumen layer to darken, forming metallic silver in direct proportion to exposure. This process produced a **positive image** without a separate chemical development stage; albumen prints are “printed-out” images, visible as they form under light. After printing, the paper was fixed, washed, dried, and mounted to a card.
Two uses of silver, no interaction between them:
Although silver chemistry appears in both stages, the silver on the glass and the silver on the paper **never interacted physically or chemically**. They participated in independent reactions, at different times, in different materials. No silver moved from the negative to the print; no chemical process crossed from one surface to the other. The glass negative functioned purely as an optical modulator—a stencil for light.
The relationship can be summarized simply:
**Silver → light → silver**
The silver image on glass shaped the light; the silver salts on paper responded to it.
Because the negative remained chemically stable after fixing, it could be reused repeatedly. Each print made from it was a new, independent chemical event, allowing studios to produce dozens or hundreds of identical cartes de visite over months or years, even in different locations. This reproducibility—combined with the small, affordable format—made the carte de visite the dominant photographic form of the 1860s.
Why this distinction matters today
The dual use of silver explains many features visible in surviving photographs. Glass negatives and paper prints age differently because they contain silver in different physical and chemical environments. Albumen prints yellow as the organic egg-white layer oxidizes; glass negatives do not. Silver migration, speckling, and fiber-following marks occur only where silver is present in the paper’s albumen layer. The paper support decays organically, while the image material behaves as a metal.
In material terms, one is looking not at a single photographic substance, but at two generations of silver, chemically related yet historically and physically separate—linked only by light.
This negative-positive system also marks a fundamental shift from earlier photographic technologies such as the daguerreotype. Where the daguerreotype plate was directly exposed to light reflected from the sitter, later paper photographs are mediated objects: translations of an earlier optical event rather than its direct physical trace. The silver on glass recorded the scene; the silver on paper reproduced it.
Because the negative and paper were the same size, no enlargement was involved; each print was an exact replica of the original exposure.
After printing, the paper was typically toned—often with gold chloride—to improve stability and image color, then fixed, washed, dried, and finally mounted on a card support.
This negative-positive system allowed studios to produce multiple identical prints from a single sitting with relative efficiency and at modest cost. Its reproducibility, combined with the small, easily exchanged format, made the carte de visite the dominant photographic form of the 1860s.
The resulting silver image reflects the dominant photographic technology of the era: sharp yet softly tonal, with the gentle falloff and warm aging characteristic of albumen prints. Such studios catered to local clients seeking durable, exchangeable likenesses rather than unique objects.
Photographs of this type were commonly made at moments of transition—engagement, impending marriage, or the establishment of an adult identity—and were often exchanged between families or kept together in albums. The sitter’s composed expression and carefully chosen adornments suggest an image intended not merely as a personal keepsake, but as a representation meant to circulate within a social and familial network.
Nikon D810 California Fall Colors Autumn Foilage Fine Art High Sierras! AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR from Nikon
Bishop Creek, Bishop Canyon, North Lake Fork, South Lake Fork! Eastern Sierras!
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Fine Art Landscape & Nature Photography for Los Angeles Gallery Show !
Will be busy printing and framing in nice large, matted formats and frames and museum glass! Five of these photos will be printed on 40" x 60" floating wall mounted metal sheets! I think I know which--will share photos of the photos hanging on the walls!
And I am mounting some on plexiglass/acryllic--front mounting them! Some I am printing on lossy fuji-crystal archival paper too, and then front mounting 40"x60" versions to plexiglass--will send photos!
The secret to HDR photography is that you want people to say, "Woe dude--that's unreal!" And not, "Dude--that's not real!" "Unreal" is the word they use when they're trying to figure out the photo--what makes it cool--is it a photo? Is it painted? How'd it come to be--how'd you bend the light that way? "That's not real," is what they say if you have the saturation/HDR/ etc. turned up too high. :)
Some (almost) final edits for my Los Angeles Gallery Show! Printing them on metallic paper at 13" x 19" and mounting and framing them on a 4mm 18x24 white mat and 2" dark wood frame. Also printing some 40" x 70" which is over three feet by five feet! Wish you all could come (and hang out with the goddesses)!
Let me know your favs.!
New Instagram!
Videos!
I booked a major photography show at a major LA gallery in December! Will also be giving some lectures on the story--the Hero's Odyssey Mythology--behind the photography!
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Preparing for some gallery shows this fall to celebrate 300,000,000 views! Printing a few dozen photographs in ~ 30"x40" formats and mounting/framing. Here are some close-to-final edits. HDR photography 7 exposures shot at 1EV and combined in photomatix: 36 megapixel Nikon D8010 with the awesome Nikon 14-24mm f/2.8G ED AF-S Nikkor Wide Angle Zoom Lens. 45SURF Hero's Odyssey Mythology Photography!
Epic Scenic HDR Landscapes Shot with Nikon D810: Hero's Odyssey Mythology Photography!
Enjoy the Hero's Odyssey Mythology Photography, and all the best on a hero's odyssey of your own making!
High Dynamic Range (HDR) photos rock in capturing the full dynamic range of the scene!
All the best on your epic hero's odyssey from Johnny Ranger McCoy!