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the only thing I worked on today, everything else required time in the car and visiting and talking. So this isn't done yet, but you can see the bones...
Took the original mono and thought, what if I use one of the colour presets in lightroom. I tried the colour creative cross process 4. MMMMM? Not sure.
The original can be seen @ www.everydayparanoidvisions.wordpress.com
Trying a new process using used hypo-fixer. This should contain silver and I have been working many experiments to see if i can release that again for some type of VanDyke print. Adding it direct will result in fainter blue. Finally tried following:
- a few ml of used fixer
- add some Copper Sulfate (not much)
- wait till it has reacted (it will become brown or dark)
- add same volume of 25gr/100ml concentration Ferric ammonium citrate (same as used for Cyanotype.
Paint on paper or linen
- let dry for short time
Expose in UV or Sun (about same time as normal cyanotype.
- The paper will have before exposing almost white / light green color
- after 3 minutes it will turn yello
- after 10-50 minutes it will become coffee with milk color.
Contrast seems to have more gradations (see the middle grass halm)
Development:
- I rinsed it in water with a drop of vinager (pH of my water is 8 so i have to bring it down slightly)
- for this print i added some Potassium ferricyanide which changes the color from brown to mor blue especially on the borders.
- Dry the print as normal.
I had some people request before/after images, so here you go.
Left Image: 022/365 Track Star Tommy
Camera Info: Canon 7D, Sigma 17-70@23mm, ƒ11.0, 1/60s, ISO 100
Strobist Info: See Setup Shot Here
Canon 430EXII camera left and directly in front of subject about 3 feet high fired into shoot through umbrella about 3 feet away from subject, Canon 430EXII camera left and on back side of subject about 8 feet high fired bare/no diffuser, Canon 430EXII camera right and directly to the side of subject about 4 feet high fired into reflective black back umbrella about 6 feet away from subject . Flashes were triggered with Interfit Strobies.
Right Image: 117/365 Billy Baller
Camera Info:
Canon 7D, Sigma DC 17-70mm 1:2.8-4 Macro HSM @17mm, f/5.6, 1/50s, ISO 100
Strobist Info: See setup shot here.
-Canon 430EXII's Camera Left and in front of subject, 1/2 Power, @24mm zoom, about 5 feet high, 4 feet away from subject inside 40 inch Wescott softbox.
-Canon 430EXII Camera right and behind subject, 1/4 at 105mm Zoom fired bare, 7 feet high and 10 feet away from subject, fired bare.
-Canon 430EXII Camera left and behind subject, 1/4 at 105mm Zoom fired bare, 7 feet high and 10 feet away from subject, fired bare.
-Flashes triggered with Interfit Strobies.
Follow me on Twitter @matthewcoughlin.
Taken in New Orleans, Louisiana
This is my first Calotype negative and salt print positive combination that is worth showing after a steep learning curve. Many thanks to Wlodek (paperlink) for sending his instructions and several encouraging emails back in May--it has taken this long to reach this point!
Negative: Pelegry process with no whey. Borden and Riley marker paper. Developed in gallic acid. Waxed with some graphite pencil masking of the sky to lighten.
Positive: Salt print on Arches Platine 310g paper. Iodized (floated) with ammonium chloride/sodium citrate/gelatin.
Working on a new music video project. It is probably going to change a bit over the next couple weeks so I want to keep an eye on the screen grabs that I like. I plan on showing it at FiTC on April 22nd. I will write a post about it after the project gets a little closer to completion.
Again, the main point of interest is that there will be no post-production. The entire thing is code driven. Every beat is manually input like in the Solar (Goldfrapp) video I posted a couple weeks back. Every single high-hat hit, every snare, every bass, the vocals, the guitar arpeggio... all of it was manually input. Took about 6 hours to input the data for the whole 5 minutes and 15 seconds of song. Maybe when musicians start releasing multiple tracks per song with isolated instruments, things will get a lot easier.
buy from bluetapes.co.uk/product/blue-twenty-quasiviri
C25 + download
It sounds like Morton Feldman playing doom metal. A ten-minute rumble of bass piano cadences interrupted by spirals of right-hand arpeggios. This playful-solemn solo piano-storm thunders along gracefully and we could happily release whole boxsets of this stuff, but this isn’t even the main gist of blue twenty: Quasiviri, which sees the tape series return to its beloved “one epic track per side” safe space.
Rather, the funereal baroque-gone-serialism of the piano piece is what the ‘proper’ music industry calls a B-side, as it is an instrumental run-through of Choro Tempore, the release’s ‘A-side’ pop song, arranged for piano.
And what does the real Choro Tempore sound like? Well, obviously not very pop, except by our warped standard. It’s a blizzard of time changes enacted by belly-slapping, octo-stringed fuzz bass, drums, vocal harmonies and psychedelic synthesiser. Yes, OK, it’s a Blue Tapes prog record.
A big monster of a song that builds and builds and double backs on itself in myriad internal musical conversations and could be at least ten separate songs - or a symphony - but is obviously best as this weird hymnal, minimal rock piece.
I find the best way to listen to Choro Tempore is endlessly, on a loop, as the piece flips mischievously between its ‘rock’ and ‘classical’ forms - the janus faces of Quasiviri, a preternaturally talented Italian trio, alternately grinning and howling at us, as they scramble the mind cells of the listener that little bit further with each iteration.
Choro Tempore also sounds like a pop record because it was mastered by the guy who does Muse’s stuff, but sounds like it eats Muses for breakfast.
Praise for Quasiviri:
“Superheroes should be psychedelic motherfuckers. Quasiviri sometimes sound to me like a pop Oneida – and if anyone are superheroes, then its fucking Oneida. It’s that muscular, fuck-you bass – which sometimes just settles into an up-middle-fingered stomp and then stomps all over your face. It’s those mind-scrambles of organ. It’s the fact you can fill up a fuck of a lot of space with just three instruments and a sound to die for. But it’s not just wig-out mayhem. Quasiviri is tight, clear-eyed, ultra-focused and purposeful rock that just happens to share a sound with your dream psychedelic record. It isn’t prone to noodling, or playing jazz chords with 20 notes when one note repeated 20 times will do just as well. Also it’s playful, and funny, and why isn’t it this stuff that people are obsessing over now? Be not apologetic. Play like a superhero. Walk like a motherfucker.” - 20 Jazz Funk Greats
“Think Ian Curtis and Primus. Then forget and forgive me about that, and press play. Quasiviri.” - Komakino
Esq: calótipo / dir: inversão digital.
Imagem feita durante demonstração de fotografia em calótipo do grupo Imagineiro (Ligia Minami, Fernando Fortes e Roger Sassaki) para alunos do 5º semestre do Bacharelado em Fotografia do Senac à convite do professor Kenji Ota.
Mais informações sobre esta imagem e outras do mesmo dia: www.imagineiro.com.br/demonstrando-calotipos-para-os-alun...
Calótipo úmido em papel Canson Marquer
Iodização e sensibilização #1 de Alan Greene
Luz: 3 bancos de luz UV (2 cpom lâmpada BL e um com BLB)
Fotometria: não medida
Abertura: f/4.5
Tempo de exposição: 15 minutos
Revelação: 8 minutos