post alternative techniques

[Vaughn]

Wonderful feeling of light in the Sequoia image, Eric!

[MMELVIS]

These two Collodion 5x7 photos were taken at John Coffer' Jamboree last weekend. Thanks to Eddie Gunks who supplied me with a loaner plate holder after mine had a dark slide freeze up. The model A truck is on black aluminum, and the wagon is on blue aluminum. Voightlander Euryscop lens on an 8x10 Ansco Universal Camera.

and oh yes, critiques and comments are accepted.

The Black truck is very nice. Can you tell us about the setup for the image. Were there any other challenges that you had?

[Wayne Aho]

The Jamboree photos were probably some of my better work while shooting wet plate over the last year. I've added a digital color shot of the setup. Several other wet platers were also shooting the same subjects, so more of these may crop up. The sepia toning is mostly due to the scanner, the original has more contrast and is more black and white than this scan. The wind blew the camera over while I the plate was in the silver bath, so it was a very quick reset and focus for this shot (luckily the ansco is a fairly rugged camera). Note that the scene is reversed for the wet plate. I've had this Euryscop lens for over thirty years, and only recently started using it.

[MMELVIS]

Wayne thanks for the details, great job on the quick setup and getting the shot. Wet plate photos have such a classical look.

[ThePhilosopher]

I've been doing some reading and after only wasting 3 practice tries I got a successful transfer (not a lift) with Fuji FP-100c45. I'll be looking to get some printmaking paper (Arches 88) to use instead of normal printer paper.

http://www.bartkophoto.com/test/FujiTransferTest_0001.jpg

[Vaughn]

Salt printing failure

Do not try this at home...

Well, I made a half decent salt print about a year and a half ago, at which time I salted several pieces of Weston Parchment with the gelatin and salts. It has been way too long for me to remember the exact receipe I used.

In a couple days I need to have some prints ready for the annual university Art Dept Faculty and Staff show. So I thought, I got one print easy enough, I'll just make three from very similar negatives (8x10's of each of my boys). Print today, mat tomorrow and frame them up and turn them in on Thursday before I leave town for a week.

I am not looking for perfect prints -- in fact as the triplets have very different body-styles and personalities, the images should not look identical. In fact, I would not mind some rough looking prints to match the rough and tumble personalities of the boys.

Ah...the well laid plans of mice and men. And probably not well laid at all, really...

I rod-coated the sheets, using 2ml of 10% sensitizer per sheet. The first test (15 min in a "pizza oven") was way too light. So I double coated the remaining sheets with another 2ml of the silver nitrate/citric acid sensitizer. The next image, exposed for 30 minutes is still too light (even before the fixer!). I did get some better density on the ends where there was more sensitizer left by the rod. I got another sheet exposing for two hours right now.

So I just triple coated the remaining sheets with 3 ml more of the sensitizer. Holding the sheets up to the light, they look a little splotchy, but they are drying right now and I'll see how they print in an hour or so. (Maybe I'll hit them with a hair drier to speed things up.)

We'll see how it all turns out. I should know better than to try to get final prints with an almost brand new process! LOL!

Below is that good image from my first (and only) salt printing session. A 5x7 print from a camera negative. On a different paper and salted differently probably, too.

[mdm]

Thats a nice composition. Much better than my first salt print. In typical male fashion I ignored the instructions I got on alternativephotography.com and used too little AgNO3.

[Vaughn]

I did end up with some prints -- a tad muddy-looking, but I am cutting mats for them anyway. Triple coating was what was needed for this particular paper/salting. Should not have been needed, but I will need to do more exploration of the process. I'll try to scan one of the prints this morning.

Thank you for the compliment. Sometimes it pays to break the "rules" and place something in the center of the image.

Vaughn

PS -- here is one of the salt prints...and the only one worth showing. I decided the other one was too muddy-looking. Scanned salt print, 8x10 negative (blue-sensitive x-ray film developed at the hospital's lab)

[PViapiano]

How did you get a transfer to print out with the letters going the right way? Did you just flip it in PS? I'd like to hear more of how you did this...

Nice image...!


I've been doing some reading and after only wasting 3 practice tries I got a successful transfer (not a lift) with Fuji FP-100c45. I'll be looking to get some printmaking paper (Arches 88) to use instead of normal printer paper.

http://www.bartkophoto.com/test/FujiTransferTest_0001.jpg

[ThePhilosopher]

I did this in "field conditions" inside of 2 paper grocery sacks (double-bagged) with my darkcloth over it to add more cover. Waited about 15 seconds, peeled stuck it on the paper (which is resting on a piece of masonite) and started rolling with my brayer for a good 30-45 seconds, let it set for a bit longer (maybe 10-20 seconds) then pulled up on the negative to remove it from the paper. No reversing in ps - that's just the way it came out. I'm hoping that using the Arches paper will prevent the yellow cast seen in the image above.

[PViapiano]

Thanks...it's beautiful!

[csant]

The first test (15 min in a "pizza oven") was way too light. [...] still too light (even before the fixer!)

You can darken salt prints by ironing them (or placing them in a hot press). Heat is the trick.

[Wolfgang AM]

Van Dyke Roses 13x18 with Schneider Symmar 210mm @ f22 on Fomapan 100

[Tri Tran]

Just got back from my trip and here's my first transfer from Oratoirs St -Joseph in Montreal , Canada.

http://img148.imageshack.us/img148/7493/oratoireorgan.jpg (http://imageshack.us/photo/my-images/148/oratoireorgan.jpg/)

[Jim Cole]

TT,

Looks like a wonderful print. That organ is beautiful. I'll have to do a little research and see if E. Power Biggs ever played that one.

[Scott Davis]

http://dcphotoartist.files.wordpress.com/2011/08/dupontbusnight1.jpg

Canham 5x12, Ilford FP4+, Pyrocat HD 1:1:100, palladium on Bergger COT320.

[tonkhang]

Félicitations , Mr Tran Tri ! You've got the big catch.

[Jim Fitzgerald]

Tri, welcome back! Nice image! Can't wait to see the print and hear about the print. Did you get Ton out to use any of his stuff?

[Tri Tran]

Thanks Jim and Khang. I don't know if Power Biggs has played that one but I have heard it played from time to time. It's more impressive if you see it in person. This shot took me 10 min exposure and hundreds of visitors passed back and forth. This is indeed a reward
Jim: Thanks. Yes I did but not with the 16x20 and Hypergon. We took out the Canham 14x17 but it was too windy.

[Vaughn]

Van Dyke Roses 13x18 with Schneider Symmar 210mm @ f22 on Fomapan 100

Well done...a beautiful delicate image!

Also an impressive palladium print, Scott!

[Scott Davis]

Thanks Vaughn. It looks spot on on my monitor at home, which is calibrated. Here at work it's a bit greenish. It was fun to shoot, and a bit serendipitous. I was hoping to get more of the bus body showing up, especially the lit interior, but it was not to be. I think what I did get though was more interesting in the long run.

Tri - you took your 14x17 Canham all the way to Montreal? I love the idea, but I can't imagine traveling with that camera unless it was by car. I wouldn't trust the airlines with it.

[Scott Davis]

http://dcphotoartist.files.wordpress.com/2011/08/dupontunderpassnight.jpg

Here's another from the same shoot. All the details of production are the same.

[Harley Goldman]

Van Dyke Roses 13x18 with Schneider Symmar 210mm @ f22 on Fomapan 100


Really nice, Wolfgang!

[Tri Tran]

Here's an other print from the Oratoire St- Joseph collection. This one was taken in the garden located on the left of the church. My all time favorite location when I was a wedding photographer back in the days.

http://img638.imageshack.us/img638/8995/oratoirestjoseph.jpg (http://imageshack.us/photo/my-images/638/oratoirestjoseph.jpg/)

@Scott: No ULF camera onboard with me because my friend Khang has everything there line up from 8x10 to 20x24 for me to use . Althougt Canham 14x17 is nice to shoot with but did not impressed me compare to my Chamonix due to it lacks of rigidity support from the back of the camera especially when you loaded with heavy X ray film holder . I wish I had my Chamonix for this shot.

[Curt]

Just got back from my trip and here's my first transfer from Oratoirs St -Joseph in Montreal , Canada.

http://img148.imageshack.us/img148/7493/oratoireorgan.jpg (http://imageshack.us/photo/my-images/148/oratoireorgan.jpg/)

Really stunning!

[Tri Tran]

Thanks Curt, appreciated! More to come later...

[Jim Cole]

Just got back from my trip and here's my first transfer from Oratoirs St -Joseph in Montreal , Canada.

http://img148.imageshack.us/img148/7493/oratoireorgan.jpg (http://imageshack.us/photo/my-images/148/oratoireorgan.jpg/)

All I could find about this organ and E. Power Biggs was the following:

"E. Power Biggs was the first to visit the Beckerath, on March 28, 1957.
He offered 'most hearty congratulations on this wonderful instrument!
Where else can one find an organ to equal this [in] tonal excellence.' ”

Since he commented on the tonal excellence, I would assume he played it. I couldn't find any references to recordings by him on the Beckerath, but there are by other organists. Impressive instrument.

[Tri Tran]

Thanks for the info Jim and if my memory serves me correctly when Pope Jean Paul II came to Montreal in the early 80' I sure have heard it played beautifully.
Here's my favorite of all and it sets a new benchmark for me again from this collection . I hope this Angel print will bring Peace and Hapiness to everyone.

Angel , Oratoire St-Joseph Garden.
Opposite from Brother Saint Andre Chapel.

http://img15.imageshack.us/img15/8200/angelmg.jpg (http://imageshack.us/photo/my-images/15/angelmg.jpg/)

[Jim Cole]

Nice! I feel better already.

[Vaughn]

Both Organ and Angel are beautiful images.

[bitu]

Three images are so beautiful. I can't wait to see those prints.

[Tri Tran]

Thanks Vaughn , Bitu
Again from this garden.

http://img580.imageshack.us/img580/7023/oratoirestjosephgarden.jpg (http://imageshack.us/photo/my-images/580/oratoirestjosephgarden.jpg/)

[Hugo Zhang]

Tri,

Beautiful light!!!

Hugo

[OMU]

Bromoil on Foma liquide emulsion. Toyo C45, Fomapan 100 in HC-110

[Jim Fitzgerald]

Tri, love the prints. Wish i could have seen them on Friday. I have to say that the angel is my favorite. i can see how that must jump off of the paper!

[Jim Fitzgerald]

One of my prints from the church series that I made yesterday. Hard to see the detail in the shadows but one can see the ceiling in the shadows. Carbon transfer print shot on x-ray film.

[Tri Tran]

Tri, love the prints. Wish i could have seen them on Friday. I have to say that the angel is my favorite. i can see how that must jump off of the paper!
I'm sorry that you couldn't make it yesterday to see this print in person. I've got some visitors today and bought that print when they first saw it. The print title now is
"My Angel". I'm so happy when I pull this neg out of the fixer at 5 am the next day when I got back home . This print alone for me was worth the trip Jim.

[Jim Fitzgerald]

Tri, great news on the sale. Congrat's. The title is perfect.

[Tri Tran]

The one that I sold was transfered onto the single weight fiber paper with 6 grs tissue . Much more details . I have to make more tissue now.

[Jim Fitzgerald]

Tri, single weight paper is nice and so is low pigment loads. Here is an image shot with the Darlot when I was up in Oregon. I put this in the Galli thread but thought I should put it here as it is a carbon print.

[Andrew O'Neill]

That's lovely, Jim. Tri, nice one.

[Sean Galbraith]

http://farm7.static.flickr.com/6193/6103215232_122a6fb0ea_b.jpg (http://www.flickr.com/photos/smlg/6103215232/)
ptpd055.jpg (http://www.flickr.com/photos/smlg/6103215232/) by SeanGalbraith.com (http://www.flickr.com/people/smlg/), on Flickr

First pt/pd print, with many thanks to Jonathan Day-Reiner (who did most of the work). Digital negative cropped from a 4x5 negative.

[Vaughn]

Tri, single weight paper is nice and so is low pigment loads. Here is an image shot with the Darlot when I was up in Oregon. I put this in the Galli thread but thought I should put it here as it is a carbon print.

Wonderful light, Jim!

and congrats on the first pd/pt print, Sean!

[Jim Fitzgerald]

Wonderful light, Jim!

and congrats on the first pd/pt print, Sean!

Vaughn, thanks. It was late in the day and the light was very nice as I recall.

[csant]

Digital negative cropped from a 4x5 negative.

What?! You set up a 4x5 camera in front of those guys? And had time framing and focussing?! Nice print :)

[Sean Galbraith]

Wonderful light, Jim!

and congrats on the first pd/pt print, Sean!

Thanks! It was really cool to make. A bit too much for me... Going to try Argyrotype next.



What?! You set up a 4x5 camera in front of those guys? And had time framing and focussing?! Nice print :)

It was during the G20 weekend in Toronto last year. Went running around with my Crown Graphic to play old timey news photographers guy. :-)

http://www.seangalbraith.com/g20-in-large-format/

[MMELVIS]

Thanks! It was really cool to make. A bit too much for me... Going to try Argyrotype next.




It was during the G20 weekend in Toronto last year. Went running around with my Crown Graphic to play old timey news photographers guy. :-)

http://www.seangalbraith.com/g20-in-large-format/

Would make a great book cover for Fahrenheit 451 or Nineteen Eighty-Four

[Axon990]

It was during the G20 weekend in Toronto last year. Went running around with my Crown Graphic to play old timey news photographers guy. :-)

http://www.seangalbraith.com/g20-in-large-format/

Hah! That's exactly what I'd have done! Nobody ever calls out the riot squad here in boring old Northern California though...

[Erik Larsen]

From a recent trip out west. Sequoias in Mineral king area of the Sierras
8x10 Platinum toned Kallitype on a textured Canson Montval paper.
erik
http://farm7.static.flickr.com/6197/6109785576_affd187e7d_b.jpg (http://www.flickr.com/photos/jiggerpress/6109785576/)

[Michael Wynd]

Really nice Erik. I like it a lot
Mike

[Erik Larsen]

Really nice Erik. I like it a lot
Mike

Many thanks Mike
Erik

[h2oman]

I like it as well, Erik.

[Erik Larsen]

I like it as well, Erik.
Thanks Mr. Waterman.

Still goofing with the kallitypes. This is an 11x14 palladium toned kallitype on rising stonehenge.
regards
erik

http://farm7.static.flickr.com/6181/6118368231_809544f079_b.jpg (http://www.flickr.com/photos/jiggerpress/6118368231/)

[Tri Tran]

Outstanding Erik, Thanks for showing.

[Erik Larsen]

Outstanding Erik, Thanks for showing.

Thanks Tri
erik

[Leigh]

Still goofing with the kallitypes. This is an 11x14 palladium toned kallitype on rising stonehenge.
That's quite nice Erik. Great composition and rendering. Thanks.

- Leigh

[Philippe Grunchec]

Splendid, Erik!

[Erik Larsen]

thanks guys! much appreciated.
erik

[jp498]

It was during the G20 weekend in Toronto last year. Went running around with my Crown Graphic to play old timey news photographers guy. :-)

http://www.seangalbraith.com/g20-in-large-format/

A few super cool shots in there. The horsemen look like a combination of old fashioned knights and darth vaders. The first photo with the buildings in the haze looks very urban dystopia like a futuristic movie; somewhat stirring that this isn't fiction. The trolley tracks photo is very 3d and excellent arrangement of composition elements.

[MMELVIS]

Cyanotypes, Mike Ware Formula
Twinrocker paper
Exposed for 8 minutes

[chassis]

Wow, really nice.


Thanks Mr. Waterman.

Still goofing with the kallitypes. This is an 11x14 palladium toned kallitype on rising stonehenge.
regards
erik

http://farm7.static.flickr.com/6181/6118368231_809544f079_b.jpg (http://www.flickr.com/photos/jiggerpress/6118368231/)

[Scott Davis]

Thanks Mr. Waterman.

Still goofing with the kallitypes. This is an 11x14 palladium toned kallitype on rising stonehenge.
regards
erik



That is GORGEOUS!

[Erik Larsen]

Many thanks guys! Much appreciated.
Regards
Erik

[MDR]

My first Saltprint and first picture post on this forum. The Picture was made with an old Kodak/Nagel Recomar 33 (9x12cm), the lens was the standard Nagel Laudar 4.5/135mm, on Efke 100 PL Rodina 1:100 Stand. The paper I've used was Hahnemuehle Aquarell 300g.

Dominik

http://dominikriedl.bplaced.net/Saltprintapple.jpg

[csant]

Gum bichromate, three layers: cobalt blue deep (2 layers), ivory black. Sphinx.


http://csant.info/pics/portraits/20110923.jpg

[cadoux]

Bonjour,

I do not know if you consider the three-color as an alternative process.

This is my first.
With the help of Saint Veronica, patron saint of photographers.

Arca F-Line 8x10
Fuji A300mm
Ilford HP5+

http://lc972.files.wordpress.com/2011/09/verotri-wp.jpg

[csant]

I do not know if you consider the three-color as an alternative process.

Beautiful work! Did you assemble it digitally?

[cadoux]

Beautiful work! Did you assemble it digitally?

Merci !

Yes it is assembled in photoshop.
As shown here (http://trichromie.free.fr/trichromie/index.php?post/2007/04/01/189-assemblage-d-une-trichromie-directe).
We can also do it RA4 (http://trichromie.free.fr/trichromie/index.php?post/2010/01/03/TrichroR4A).

But it was for me a first try.

[johnielvis]

hey nice color---I did a bunch of them last year like that---gave up on using the lf for the thhree color due to scanning problems and allignment problems...I found it best to use hasselblad--then when you do 3 in a row, all 3 are already lined up in one direction, see--less lining up needed--of course, withthe photoshop now I see that there is an "auto" feature that will line up anything....I've noticed the colours to be fine fine fine with rbg type color like this---plus when using triple hasselblad, you get a lot of image detail...it's like 3/4 of a 4/5....so it's like large format quality when you consider that it's actually the size of 3 negatives of information.

when I get my own scanner I'll start doing it again--it works GREAT..e.xcept for people.....

I kind of got interested in building 3-up camera....still thinking about it...like an 8x10 with the double beam splitter and all...LOT of design trade off's....man...and persnickity allignment problems too...eventually I will I guess..you've just renewed the bug now...

[csant]

Gum bichromate, four layers: cobalt blue deep, rose madder genuine, lemon yellow deep, ivory black. Daisies…


http://farm7.static.flickr.com/6230/6237381875_987f3d8779_z.jpg (http://www.flickr.com/photos/csant/6237381875/)

More info and a larger image over at Flickr (http://www.flickr.com/photos/csant/6237381875/).

[csant]

I've been playing with albumen papers again - did a few toning tests…

Here is a gold and platinum toned albumen print (the scan really doesn't convey the subtle tonal nouances… couldn't get them to look right on screen…):


http://farm7.static.flickr.com/6034/6249387638_6814d82d14_z.jpg (http://www.flickr.com/photos/csant/6249387638/)

More info, a gold toned and a plain albumen print for comparison, and a larger image over at Flickr (http://www.flickr.com/photos/csant/6249387638/).

[gandolfi]

More info, a god toned and a plain albumen print for comparison, and a larger image over at Flickr (http://www.flickr.com/photos/csant/6249387638/).

It must be nice to have a God toner...:D

Beautiful image! very suttle and silent - I like that.

[csant]

It must be nice to have a God toner...:D

oops… :o fixed… :D


Beautiful image! very suttle and silent - I like that.

Thank you kindly!

[Colin Graham]

Wonderful work Claudio! Beautiful pairing of subject and process.

[MIke Sherck]

I've been playing with albumen papers again - did a few toning tests…

Here is a gold and platinum toned albumen print (the scan really doesn't convey the subtle tonal nouances… couldn't get them to look right on screen…):


http://farm7.static.flickr.com/6034/6249387638_6814d82d14_z.jpg (http://www.flickr.com/photos/csant/6249387638/)

More info, a gold toned and a plain albumen print for comparison, and a larger image over at Flickr (http://www.flickr.com/photos/csant/6249387638/).

I will be dipped in fixer. This is one of the most satisfyingly beautiful photographs I've ever seen. Deeply seen and finely printed. Thanks for showing it!

Mike

[csant]

Wonderful work Claudio! Beautiful pairing of subject and process.

Thank you Colin!


I will be dipped in fixer. This is one of the most satisfyingly beautiful photographs I've ever seen. Deeply seen and finely printed. Thanks for showing it!

Thank *you* for the nice words, Mike!

[Philippe Grunchec]

Really superb! Did you prepare your paper yourself or did you use Victor Petryakov's one?

BTW, which gold toner recipe did you use? Namias'?

[csant]

Really superb! Did you prepare your paper yourself or did you use Victor Petryakov's one?

BTW, which gold toner recipe did you use? Namias'?

Thank you Philippe! I coat and sensitize the paper myself. Don't know about Petryakov's - could you provide some more info?

Gold toner is the simple borax recipe, and platinum toner is the simple citric acid recipe. All home-made.

[Philippe Grunchec]

http://www.altphotoproducts.com/
Albumen and collodio-chloride POP papers

[csant]

Thank you Philippe! Have you used the collodio-chloride papers?

[Philippe Grunchec]

Yes! Very nice results.

[mdm]

http://3.bp.blogspot.com/-9T8FOnazmuY/TpySCTAvH0I/AAAAAAAAA30/TjRXVr2rhuY/s1600/TeAnau-1.JPG
I may have posted this one before but this is a new interpretation. 5x7 carbon transfer print from a digital negative, originally it was a 5x7 negative on Shanghai 100. Canson Montval rod sized with pearlescent gelatin. The actual print is not as contrasty as this as my scanner is clipping the shadows and the finest highlights.

[Tri Tran]

Welcome fall and here's my first shot of the season.

http://img856.imageshack.us/img856/8987/alisohills.jpg (http://imageshack.us/photo/my-images/856/alisohills.jpg/)

[Tom J McDonald]

David, that's really nice.

[mdm]

Thanks for that, its been rehomed with the scanner dude so he can see what I am trying to do before he scans some negatives for me. The highlights are slightly blown though I am very pleased with it anyway.

[mdm]

http://3.bp.blogspot.com/-S6RMYGlA9hw/Tp58PX219WI/AAAAAAAAA4A/0mMnzo_oNVU/s1600/Rose.jpg
From a 4x5 fp4 negative originally. Printed from a digineg. 5x7 print on rod sized Fabriano Artistico HP. Love the sheen and base colour but my highlights are just a little blown with this profile. Spot the spiders web. ( printed this to check out the highlights of a profile, so close yet so far )

[Jim Fitzgerald]

Tri, I love the dreamy quality of this image. I've got a guess as to the lens? Really nice glow to it! Can't wait to see the print.

[Tri Tran]

Tri, I love the dreamy quality of this image. I've got a guess as to the lens? Really nice glow to it! Can't wait to see the print.

I'm glad you like it. Forget the lens maker here . I guess the trend now, people called Meniscus :confused: but for me is the image afterall.

[sly]

Took this negative on Gabriola this summer. I was thinking carbon when I shot it, but I've not got enough experinece under my belt yet to do this image justice in carbon. I like the image alot, so here it is in palladium/Na2.

[Jay DeFehr]

That's beautiful, sly.

[Mark Stahlke]

I've been playing with albumen papers again - did a few toning tests…

Here is a gold and platinum toned albumen print (the scan really doesn't convey the subtle tonal nouances… couldn't get them to look right on screen…):


http://farm7.static.flickr.com/6034/6249387638_6814d82d14_z.jpg (http://www.flickr.com/photos/csant/6249387638/)

More info, a gold toned and a plain albumen print for comparison, and a larger image over at Flickr (http://www.flickr.com/photos/csant/6249387638/).
That's a beautiful piece of work, stunning in its subtlety.

[Vaughn]

Took this negative on Gabriola this summer...

Yes, a beautiful image!

[sly]

Thank you Jay and Vaughn. How's the carbon coming Jay? I've not poured any tissues I've been happy with yet, but I've not had much chance to work on it either. Vaughn - the carbon workshop was definitely a highlight of my summer.

[csant]

Thank you, Mark!

[Jay DeFehr]

sly, I was very fortunate to follow up Vaughn's excellent workshop with a visit to Tod Gangler's studio and darkroom, where he demonstrated his own working methods, and passed along some invaluable insights into the carbon printing process. Between the two experiences and teachers, I feel a solid foundation for building a personal process has been laid. I'm still making small prints, and I think that's the key to making early progress, for me. To concentrate more on printing, I've been using Polaroid 665 materials to produce negatives instantly. This material is capable of quite high contrast suitable for carbon prints, with practically no fog, so they print fairly quickly. One of the keys to satisfaction for me is dedication. Having dedicated work space, equipment, and materials makes consistency possible, and without consistency, progress is slow, at best. In this sense, not having my regular dark room has been fortuitous, as enlarging and all that goes along with it only conflict with carbon printing and competes for precious resources. Still, I have a very long way to go before I consider myself a competent carbon printer, but I'm having a lot of fun, all the same.

[Jim Fitzgerald]

Nice to hear that Sly 7 jay got introduced to carbon by one of the finest teachers, Vaughn. It takes printing and manufacturing materials to unlock the potential of carbon. i can't thank Vaughn enough for his teaching and inspiration. Did he give me my magic bullet? I'm thinking..... yes!

[Vaughn]

Magic bullet... don't have no stinkin' magic bullet (but you take you're chances with the Humboldt County mushroom pizzas...;) )

No really, I just get folks started on the path. Jim and Jay both took off running on the path. And when the time, light and negatives are right, Sly will jump back on it, too.

Lots of incredible alt work shown here!

Well, I was up all night pouring tissues -- got a late start and squeezed in some platinum printing, too. I coated more platinum paper than I could print a couple weeks ago, so I froze it. Last night was an experiment to see how it held up in the freezer. Quite well as it turned out. I used a different type of negatives so it is hard to be sure, but it seemed the speed dropped a little, but the tonality of the prints did not suffer at all. Fun experiment!

Might coat a bunch of platinum/palladium paper and store it in the freezer as a way to bump up my working efficiency. I tried it once with sensitized carbon tissue without success -- the high humidity here seemed to keep the tissue a little damp. Others have been successful doing it, so I may just have to be extra careful wrapping it up and waiting longer before unwrapping it. The Platinum chemical process likes bit of moisture -- carbon not so much...

Time to go home a nap!

Vaughn

[broddi]

This is my first posting here at this forum. I´ve been reading and enjoying the images and discussions for a while now and it´s about time I contributed.
This is a wet plate collodion image, scanned before varnishing.

http://farm7.static.flickr.com/6238/6252557404_0f5d180826_o.jpg (http://www.flickr.com/photos/broddi/6252557404/)
Untitled (http://www.flickr.com/photos/broddi/6252557404/) by broddi (http://www.flickr.com/people/broddi/), on Flickr

[Zaitz]

That's a beautiful piece of work, stunning in its subtlety.

Agreed! Keep posting things like that and you guys are going to have me trying alternative processes! :eek:!

[MMELVIS]

This is my first posting here at this forum. I´ve been reading and enjoying the images and discussions for a while now and it´s about time I contributed.
This is a wet plate collodion image, scanned before varnishing.



The results are wonderful. Please keep posting your work

[Mark Stahlke]

Agreed! Keep posting things like that and you guys are going to have me trying alternative processes! :eek:!
Exactly what I thought when I looked at that! :D
The first thing I did after seeing that photo was pull my copy of The New Platinum Print off the shelf.

[Tri Tran]

Right in my garden!

http://img651.imageshack.us/img651/8585/flowerpots.jpg (http://imageshack.us/photo/my-images/651/flowerpots.jpg/)

[mdm]

http://4.bp.blogspot.com/-QrrfRTcrhLM/TqI0UDxn8zI/AAAAAAAAA4M/aUjzwXTetp0/s1600/Flax.jpg
Actually a very sharp snappy print but my scanning fails me today. 5x7 carbon print on Hahnmule Brittania. Flash green pearlescent mica in the sizing gelatin gives the highlights and midtones a green cast when viewed from an angle.

[mdm]

http://1.bp.blogspot.com/-zgXG147zVDQ/TqJm1yZxIrI/AAAAAAAAA4Y/YX8wFWt_KU4/s1600/Rose2.jpg
5x7 carbon print on rod sized Canson Montval. QTR digital negative.

[csant]

Exactly what I thought when I looked at that! :D
The first thing I did after seeing that photo was pull my copy of The New Platinum Print off the shelf.

Thank you again! But note that what I posted is not a platinum print - it is a gold and platinum toned albumen print. (My first steps towards platinum printing, while I collect the missing chemicals…)

[mdm]

http://4.bp.blogspot.com/-pr0iyUonlB4/TqUNbg5GmaI/AAAAAAAAA4w/1O7v_3V59Tk/s1600/moss.jpg
5x7 carbon print on rod sized Fabriano HP

[Jim Fitzgerald]

Right in my garden!

http://img651.imageshack.us/img651/8585/flowerpots.jpg (http://imageshack.us/photo/my-images/651/flowerpots.jpg/)

Tri, nice. It is nice to work close to home!!!

[Tri Tran]

Tri, nice. It is nice to work close to home!!!

Thanks Jim, hope the workshop went well last weekend. Not everyone can achieved but I sure know it's rewarding when you see the smile on the students face.Good jobs guys!

[tilberien]

http://www.tilberien.bluefile.cz/wp-content/gallery/krajina-9x12/kyanotypie-028.jpg
Old man, Louny
Foma100@100 9x12, Rodinal 1:100 - 1 hour, cyanotype

[mdm]

Beautiful blue colour. I tried making a print with prussian blue pigment but your cyanotype blue is perfect.

[tilberien]

Beautiful blue colour. I tried making a print with prussian blue pigment but your cyanotype blue is perfect.
Thanx, I used small amount (aprox 1-2 ml) of hydrogen peroxide in last washing. It made this colour in ten second.

[mdm]

http://2.bp.blogspot.com/-3AjyLHtNZ6I/TrD4_5bcb7I/AAAAAAAAA5U/8On4PgYZrB0/s1600/rose3.jpg
Printed the way I wanted it now.

[fluidrive]

As Above So Below

Daguerreotype 11 x 14
custom hot rod camera using parts from a Kodak Magnesium 8 x 10 with 9" boards.
studio lit, HMI and Strobe.
meyer trioplan 360mm

[Jim Fitzgerald]

The first print from the recent trip to the Eastern Sierra and specifically Bodie. 8x10 carbon transfer shot on x-ray film. A special blend of pigments for a tone that really shimmers in the right light.

[Tri Tran]

I know what you mean. I can't wait to see your new tone formula to create these prints especially the obsidians.

[Jim Fitzgerald]

I'll post the images from Obsidian tomorrow. Need to dry overnight. Man what relief and tonal range they have.

[Vaughn]

Congrats, Jim! it will be a treat to get to see them!

Vaughn

[Jim Fitzgerald]

I have several more to do tomorrow. I'm making 4 carbon prints a night with my work flow. I have a lot of tissue and a lot of new negatives to print.

[Tri Tran]

As Above So Below

Daguerreotype 11 x 14
custom hot rod camera using parts from a Kodak Magnesium 8 x 10 with 9" boards.
studio lit, HMI and Strobe.
meyer trioplan 360mm

Very interesting Curtis,please tell us more about the process and your set up. thanks for posting this.

[Jim Fitzgerald]

As Above So Below

Daguerreotype 11 x 14
custom hot rod camera using parts from a Kodak Magnesium 8 x 10 with 9" boards.
studio lit, HMI and Strobe.
meyer trioplan 360mm

This is very unique and interesting. This size has to be difficult. Beautiful!

[Jim Fitzgerald]

Here are a couple of the images from the Obsidian Dome area. Shot on Efke -25 printed in carbon.

[Tri Tran]

Here are a couple of the images from the Obsidian Dome area. Shot on Efke -25 printed in carbon.

Congrats my friend. I see serious contrast and tonality in theses prints here which Carbon process is all it for. Have you use any xray with these shots? Enjoy them.

[Vaughn]

The rocks rock!

Vaughn

[Tri Tran]

The rocks rock!

Vaughn

Indeed Vaughn. I bet Jim will sleep with these prints tonight .

[Jim Fitzgerald]

Maybe after the next four I'm doing right now.

[sly]

Palladium Na2 print, enhanced with pastels.
Fun and easy! I'm procrastinating getting back to carbon printing.

[mdm]

That was a nice portrait in the Hand+Eye show, Sly.

[Jim Fitzgerald]

Sly, this is very, very nice!

[johnielvis]

SLY===VERY nice....man does that work

I didn't know that carbon is robust enough to take rubbing....or does it more ABSORB the pigment

either way---I'm surprised that this is like the FIRST time I've seen a coloured carbon....like AFTER color---I thought the pigment had to be added later...man--this way is much better--less muss and mussing

[Jim Fitzgerald]

John, this is a Palladium print, not carbon.

[Tom J McDonald]

Sly, that is very slick. Metal capsicums.

[johnielvis]

John, this is a Palladium print, not carbon.

whoopsies......

I did it again (britney)

whew...I thought that would be 'difficult'....

RE reading the pic...now I see...first time I saw pic and "back to carbon printing"....JUMPED KAZAM to the button!!!!....

OK...GUILTEEEEEE

but man...maybe there's something there...is the carbon porous to take some kind of tint?? got me thinking....

[Vaughn]

A carbon print is mostly gelatin, as are silver gelatin prints. So I have also wondered how a color dye kit used for retouching color (RA4) prints would work on carbon prints. I have plenty of both so "one of these days" when I have lots of time on my hands I'll check it out (or better yet, get a student to try it!)

Just thinking out loud -- what if the coloring was applied to the carbon print straight out of the wash - when the gelatin is still soft and might absorb the dyes easier? One actually would have a large window of times to apply the dyes as the gelatin takes many hours to dry and start to harden.

Well done, Sly! I will be platinum printing tonight...if I can get my behind out of the chair! :D But I think I'll leave the coloring to the more talented like you!

Vaughn

[sly]

I think I will try some colour on top of my terrible bubbly carbons - can't hurt!

I'm glad you like the peppers - I was surprised at the metallic sheen myself.

mdm - I'm glad you saw the image at Hand+Eye. Thanks for mentioning it. Lots of though- provoking work there. My image is not LF, but it ia alt - gum over cyanotype.
http://www.fotosavant.com/Contest/Gallery_Curator/index_2.htm
if anyone else wants a peek.

[Jim Fitzgerald]

Okay here is an image from Bodie. A bench by the employee house.

Also a shot from Shore Acres.

[fluidrive]

Tri & Jim,

Yeah sometimes i feel like Hanzel and Gretel (sp?) and I got pushed into a big wood stove with the daguerreotype process. I fell in love with the elusive quality of these mirrors but really had no idea of how high maintenance it is.

Jim I still have reference note from you about modifying and building cameras from old parts. Ultimately I took your advice with the Mg Kodak and made a 11 x 14 field with 9 inch boards.


thx
curtis

[ghostcount]

...http://www.fotosavant.com/Contest/Gallery_Curator/index_2.htm
if anyone else wants a peek.

Fantastic work Lillian! I own a sly original lith print and it adorns my living room wall - thank you so much. :)

[Tri Tran]

Okay here is an image from Bodie. A bench by the employee house.

Also a shot from Shore Acres.

I like the #2.Beautiful texture and like Vaughn said... the rocks rock.
@Curtis. Keep us updated for what you are doing.I will send you some files when I have a chance. Thanks.

[MumbleyJoe]

http://2.bp.blogspot.com/-3AjyLHtNZ6I/TrD4_5bcb7I/AAAAAAAAA5U/8On4PgYZrB0/s1600/rose3.jpg
Printed the way I wanted it now.


I know the feeling. Try adding the texture of a watercolour paper into the equation.

Was this the print you were referring too a while back? This looked to me like it had a soft texture of watercolour paper underlying the image.

Either way, it's an absolutely beautiful result!

[mdm]

Like all my prints its a little dodgy, but I am getting there. I believe that one is on Hahnmule Bamboo Multimedia rod sized with 10% gelatin.

[Jim Fitzgerald]

A couple more carbon prints from my trip to Bodie. Shot on Efke 25

[ghostcount]

A couple more carbon prints from my trip to Bodie. Shot on Efke 25

Jim,

Most excellent! I love the warmth on these images. Are they black cat?

Randy

[Tri Tran]

Jim, Both tone are adorable. Can't wait to see them in persone.

[Jim Fitzgerald]

Thanks. There is some Black Cat in there, yes. Also some other pigments. Also some secret sauce!

[tgtaylor]

Coastal Defense

http://farm7.static.flickr.com/6115/6330898222_cf91b75be0_z.jpg

Toyo 810G. Cyanotype

[Monty McCutchen]

Coastal Defense

http://farm7.static.flickr.com/6115/6330898222_cf91b75be0_z.jpg

Toyo 810G. Cyanotype

This is beautiful.

Monty

[tgtaylor]

Thank you Monty :)

Thomas

[tgtaylor]

MV Point Reyes

http://farm7.static.flickr.com/6055/6335416312_67d3d5111f_b.jpg

Cyanotype.

Thomas

[tgtaylor]

Musing Angel

http://farm7.static.flickr.com/6102/6343279466_5fbd360a84_z.jpg

Cyanotype.

Thomas
http://www.flickr.com/photos/gallery_alternative/

[tgtaylor]

Angel in a Doorway 2

http://farm7.static.flickr.com/6102/6346743914_7af1e66884_b.jpg

Cyanotype.

I'm not quite satisified with this as I printed it a little too light which I somewhat corrected for in PS. The first was too dark. Let me know what you think.

Thomas
http://www.flickr.com/photos/gallery_alternative/

[imagedowser]

Thomas, Are these trad cyano ? Love the coastal defenses.

[tgtaylor]

Thomas, Are these trad cyano ? Love the coastal defenses.

Thank you imagedowser. :)

Yes, they are traditional cyanotypes using Dick Sullivan's formula by adding oxalic acid and potassium dichromate to the sensitizing solution.

Thomas

[Zaitz]

Never thought I'd be posting something in here. Can I count this as my first Palladium print? First one exposed 7 min in the sun only developed about 5-10% of the image. 2nd one I did 30min and it came out decent. Excited to just see the image but there are several problems, mostly with the negative.

http://img208.imageshack.us/img208/8751/img337copy.jpg

I've done the maintenance on my Epson 2200. But the negative shows very, very small vertical lines and fainter but larger horizontal lines. You can see the larger lines in the full image. They are faint on the negative but show up bad in the print.

You can kind of see the very small vertical lines in this crop:
http://img190.imageshack.us/img190/1231/unled1ty.jpg

Is the 'blotchiness' of the print due to poor distribution of the chemicals when coating the paper? I'll probably just use more next time to make sure it all gets in there. I didn't presoak the paper with anything either. I've read that may help with absorption.

[Vaughn]

I believe some folks even steam their paper before coating (lightly, I believe). I do not do it -- our average RH is 75% and cool so a lack of moisture in the paper is not a issue. So it might be a bigger factor in low RH environments.

What paper are you using? I do not pre-treat COT320, but had to with some watercolor papers. It did help significantly (3 to 5% Oxalic acid). How much (and which) contrast agent are you using?

Wonderful image! Taken in my "backyard", so to speak. Bummer about the lines!

I was up there at Prairie Creek last week -- great Fall yellows! It will be a couple weeks before I can get back up there! The berries should still have some color. The Parkway (road thru the park) is closed right now (fallen trees). Might take a while. Makes it nice to walk up the middle of the road with the 8x10!

Here is an image made last year, but much like it was at Prairie Creek before the rains started today. It is from a scan of an 8x10 carbon print. The yellow leaves dancing around the redwoods are vine maples. Zone VI 8x10 w/ Fuji W 300/5.6 w/ yellow filter. (FP4+, developed in Ilford PQ Universal).

Vaughn

[Zaitz]

It's been very, very dry here lately. I didn't think about that. I am using Arches Platine paper. Following some Bostick & Sullivan papers I used 6 drops A, 16 B, and 24 C. Once I get a decent negative I'll try again.

And thanks! After I saw your carbon print/scans I went through every page in this thread. Then I found Platinum/Palladium and researched that for many hours before deciding to order up the stuff to try it. I love the look of both processes. So incredibly unique compared to a digital print.

[davehyams]

Your "blotchiness" is coming mostly from your chemistry ratios. While the negative does show some banding, the blotchiness is coming because of how much ferric oxalate #2 solution you are using, which I assume is 16 drops, or part B in your mix. This is a well known and documented result of using this type of restrainer, and you will either need to put significantly more contrast into your digital negative, or switch to Na2 to up your contrast chemically. This is another reason why your exposure is so long. I would recommend using a combination of more contrast in the digital negative, as well as switching to Na2 for your contrast agent. Adding one drop of tween 20 will aid the absorption of your chemistry, and give you a nice even coating. Give Bostick & Sullivan a shout and they will take care of you, and pass along my regards to Melody and the crew.

[Vaughn]

If I read you right, you are using 6 drops of Ferric oxalate, 16 drops of Ferric oxalte with potassium chlorate added for contrast, and 24 drops palladium salt.

I found my prints improved when I made negatives that required less and less of the Ferric oxalate w/ the potassium chlorate...in other word, negs with more contrast. I generally do not use any contrast agents in my prints (I use a pt to pd ratio of 2:1 and up to 3:1). Are you using camera negs or digital negs?

A scan of a 4x10 platinum/palladium print -- Prairie Creek.

Edited to add: looks like someone who thinks the same way, also thinks a little faster! LOL!

[Zaitz]

Very much appreciate those responses! Glad there is a solution to one of the problems. I didn't read anything about the ratio having an effect like that, bummer. Onward and upward. Now if only I could get a smooth, clean negative printed from this Epson 2200. I guess that answers your question Vaughn. I like to work in Photoshop so I do a lot of contrast edits there. Eventually I'd want to do LARGE platinum prints as well. The original is only 4x5 but looks pretty dang good. As good as I can make them out of the camera. If it were 8x10 I would try that tomorrow!

Thanks again for the help. And Vaughn that is exactly the kind of photo I am going for. Sublime!

Also, Bostick and Sullivan seems to be great. Unfortunately my Arches paper came with a pretty big fold/kink through all pieces. They are sending me another set thankfully. Great to work with so far.

[Jim Fitzgerald]

Vaughn, I need to get back up there! Beautiful!!

[Vaughn]

I got some Crane Weston Parchment a long while back. Out of the package it looked fine -- once it was wet, a fold appeared. The position shifted a little sheet to sheet, but always at the same angle...very odd. it was almost like the paper got stretched in its manufacture or something. I soaked all the paper and dried it -- then I knew where the fold was and could avoid it. It was a nice paper -- a little on the warm side, though.

The references say that the more Potassium chlorate used, the grainier the prints tend to be, but it has been a long time since I have used any of it, and never the percentage you are using. If you end up doing a lot of palladium printing, you might consider Dave's suggestion of using palladium and then adding NA2 (a form of platinum) as the contrast agent. I do use this method for printing 120 film negatives, as they generally are not developed with as much contrast as my sheet film.

Shadow ABC Boys, Luffenholtz Creek
Humboldt County, CA
Scanned 6cmx6cm palladium print (w/ NA2 -- so I could just called it a Platinum/palladium print)

Alex and Calder, North Jetty
Humboldt County
1.75"x1.75" neg, Outdated Tech pan (double exposure with Diana Camera)
Scanned Platinum/palladium print (same as the other)

[tgtaylor]

I've been using Cranes Cover 90LB Wove Finish paper from Photographers Formulary with, as far as I can tell, excellent results. The paper coats well, is "bone dry" after applying a hair dryer on low to the back-side for 10 minutes, and stands up under prolonged washing. I made another print of Coastal Defense posted above that came out superior to the one posted (I had an initial problem with the registration and had to crop off the left end of the scan) and decided to experiment with split toning (blue/yellow) the first attempt. Being my first attempt at toning I took it too far and bleached the earthworks down to a light yellow but the paper held up to two 20 minute washings back to back. I have some Rives 90LB BFK that I haven't tried yet (it's 12X15 and I don't have a 11x14 frame yet) but I am satisfied with the Crane's and will reorder it.

The next historical process on my list is the Kallitype (aka the Van Dyke).

Thomas

[Andrew O'Neill]

Scan of 8x10 Carbon transfer print. Interior of old barn near Osoyoos, BC. The other is the bell tower at Westminster Abbey in Mission, BC.

[Jim Fitzgerald]

Andrew, nice! I can feel the texture!

[Tri Tran]

Indeed, I can see these are tought to print, but you did it. Well done Andrew!

[Tri Tran]

I believe some folks even steam their paper before coating (lightly, I believe). I do not do it -- our average RH is 75% and cool so a lack of moisture in the paper is not a issue. So it might be a bigger factor in low RH environments.

What paper are you using? I do not pre-treat COT320, but had to with some watercolor papers. It did help significantly (3 to 5% Oxalic acid). How much (and which) contrast agent are you using?

Wonderful image! Taken in my "backyard", so to speak. Bummer about the lines!

I was up there at Prairie Creek last week -- great Fall yellows! It will be a couple weeks before I can get back up there! The berries should still have some color. The Parkway (road thru the park) is closed right now (fallen trees). Might take a while. Makes it nice to walk up the middle of the road with the 8x10!

Here is an image made last year, but much like it was at Prairie Creek before the rains started today. It is from a scan of an 8x10 carbon print. The yellow leaves dancing around the redwoods are vine maples. Zone VI 8x10 w/ Fuji W 300/5.6 w/ yellow filter. (FP4+, developed in Ilford PQ Universal).

Vaughn

Hi Vaughn,
I bet this is an awsome print, I can see everything is in there especially the yellow leaves and the yellow filter does help isn't it? It's oustanding.

[Andrew O'Neill]

Thank you Tri and Jim. The barn print was made with HP5, developed in pyrocat-hd. A combination that I just could not get to work in carbon. I guess all the practicing paid off! The tower was made with FP4, developed in an amidol developer. Unfortunately, the scans are not very good. There is much, much more detail in the prints.

[gandolfi]

I love bromoil!!
I love how different results I can get from the same negative...

Here are three images from the same negative (and "all" as an attachment..)

Kristina posed - 13x18cm neg. Gandolfi - eidoscope.

http://www.apug.org/gallery1/files/4/8/8/7/kristina1.jpg

..then:

http://www.apug.org/gallery1/files/4/8/8/7/kristina3_178662.jpg

and then in two colours:

http://www.apug.org/gallery1/files/4/8/8/7/kristina4.jpg

Attachment shows them together with the "original" photo..

[Mark MacKenzie]

Gandolfi,

Wow, these are so beautiful! Could you please detail which paper and what bleach formula you used.

Thank you!

[gandolfi]

Gandolfi,

Wow, these are so beautiful! Could you please detail which paper and what bleach formula you used.

Thank you!

of course:

Paper: Zerkall 340g kopper printing paper.
Liquid emulsion on this paper.

bromoil bleach:
20g potassium bromide
20g kopper sulphate
2g potassiumdichromate.

[andreios]

Emil, this is wonderful. Now I know how shall I spent my darkroom time this weekend - making some bromoils!

PS: I would very much like to see some of your work in person - should you be taking with you something on your next trip to Prague let me know and we could have some beer..

[gandolfi]

Emil, this is wonderful. Now I know how shall I spent my darkroom time this weekend - making some bromoils!

PS: I would very much like to see some of your work in person - should you be taking with you something on your next trip to Prague let me know and we could have some beer..

that's a deal!

(BTW: I use the Czeck FOMA emulsion - no hardener...)

Have fun with it!

PS: there's a small "collection" of my images held in the FOMA store in Prague... (Jungmanova)

[tgtaylor]

This is my first Vandyke print. I am unfamiliar with this process and would appreciate your feedback.

Frisco Tattoo

http://farm8.staticflickr.com/7003/6444630829_07a0568db7_b.jpg

Toyo 810G, 360mm Lens, printed on Cranes 90lb using the formulas as set-out in the James book.

Thanks,

Thomas
http://www.flickr.com/photos/gallery_alternative/

[gandolfi]

Thomas: can't help you, as my few VanDyke's are not nearly as good as this one is. I like the result a lot!

[tgtaylor]

Many thanks Emil.

Coming from an accomplished photographer as yourself, I consider that not only as a compliment but more importantly as affirmation that I am on the right track with this process. Thanks.

http://www.flickr.com//photos/gallery_alternative/show/

[gandolfi]

One o fthe reasons O love the bromoil process so much is the possibillity to fade out - to make a photograph look almost like a pencil sketch. I don't know of other techniques in photography that allows that.

Whether it then constitutes a "photograph" is not so important for me.

I just make images...

Here's Szophia as Hera perhaps... "just a quick sketch..." ;)

http://www.apug.org/gallery1/files/4/8/8/7/szofia-brom.jpg

[tgtaylor]

Superb Emil!

The Bromoil process is on my list to learn and IMO that is the perfect “syntax” for this image.

http://www.flickr.com//photos/gallery_alternative/show/

[gandolfi]

Superb Emil!

The Bromoil process is on my list to learn and IMO that is the perfect “syntax” for this image.

http://www.flickr.com//photos/gallery_alternative/show/

thanks. You're right.

All images could be made into bromoil, but it is reccommended that you start with "simple" motives. Especially if using liquid emulsion as matrix. (the brush strokes can "get in the way" by adding to much information).

But it is fun to do!

[tgtaylor]

Fun indeed! I just hung 2 VanDykes up to dry. They looked good in the wash and I hope that they still look good when dry.

Once I have a little more experience with the Cyanotype and VanDyke process, I think I'll move on to the Kallitype next as I already have all the necessary chemicals. It's great fun learning the historical processes and expands ones vision at the same time. The main focus suddenly becomes choosing the best syntax for that image/scene.

http://www.flickr.com//photos/gallery_alternative/show/

[Tom J McDonald]

Very nice Gandolfi.

[Erik Larsen]

One o fthe reasons O love the bromoil process so much is the possibillity to fade out - to make a photograph look almost like a pencil sketch. I don't know of other techniques in photography that allows that.

Whether it then constitutes a "photograph" is not so important for me.

I just make images...

Here's Szophia as Hera perhaps... "just a quick sketch..." ;)

http://www.apug.org/gallery1/files/4/8/8/7/szofia-brom.jpg

Amazing Gandolphi! It is stunning I think. Would love to see it in person and learn the process.
Regards
Erik

[Fourtoes]

Gandolfi, Bromoil is on my list of must do techniques, and your images re-affirm why....if thats a word? Brilliant.

[Jay Decker]

http://monkeytumble.com/tmp/RoadNotTaken.jpg

The Road Not Taken

4x6 Collodion on Aluminum
Xenar 270/4.5 - Wide Open
Kennewick, WA

[Mark MacKenzie]

I have a question regarding Bromoil. I hope it is appropriate to post it here.
Are the high detail advantages of large format lost in a bromoil print?
Would a Bromoil print from a 35mm or medium format negative look indistinguishable?

[gandolfi]

I have a question regarding Bromoil. I hope it is appropriate to post it here.
Are the high detail advantages of large format lost in a bromoil print?
Would a Bromoil print from a 35mm or medium format negative look indistinguishable?

I can only answer this on my basis/experience using liquid emulsion as matrix. I have only made on eattempt in doing it on "normal" papers.

Liquid emulsion bromoils tend to be a little more rough, than normal paper bromoils.

A couple of reasons for that:

I am using a brush to apply the emulsion - that can give an uneven emulsion layer, and brush strokes can/will appear.

For inking I am using a sponge rather than the "official" bromoil brush. I think this also can result in a little less accurate inking..

But - I have done bromoils with surprisingly high amount of details, so it can be done.

I make bromoils from everything from 35mm to ULF negatives. They all work.

But I suspect, if you want the suttelties from a LF neg then you should proberly use the classic approach.
There I know, you can get all the details and suttleties as you want.
(I just can't...)

[Vaughn]

A platinum/palladium print. I posted this image as my intro to this forum a few years back.

Yosemite National Park

[Joe Forks]

Nice Vaughn!

[Vaughn]

Thanks, Joe. Another platinum/palladium print

Snow, El Capitan Meadow
Yosemite National Park.
8x10 w/ 300mm

[Joe Forks]

Another nice one, in my mind PT/PD and the american west go together like cake and ice cream!

[Mark MacKenzie]

Thanks, Emil!

[Vaughn]

Another nice one, in my mind PT/PD and the american west go together like cake and ice cream!

Well, I can't eat ice cream anymore, so here is some jello to go with that cake...:D

Oak, Cascade Creek, YNP
carbon print

[tgtaylor]

Palace of Fine Arts, San Francisco

http://farm8.staticflickr.com/7161/6469814863_3ce7312923_b.jpg

Cyanotype.

Shot the negative yesterday and printed it this afternoon on Rives BFK. This is the first time using Rives and I think that the apparent streaking is a result of the poor job that I did when brushing with distilled water (I don't have any Tween).

Toyo 810G, 360mm Lens, Delta 100 rotary processed in Xtol 1:1.

[Zaitz]

Yay! Second palladium print and this one looks halfway decent with no marks/lines from the printer on the digital negative.

http://farm8.staticflickr.com/7001/6479313981_79a494264a_o.jpg (http://www.flickr.com/photos/zboumeester/6479313981/in/photostream)

Original was on 4x5 HP5+. Scanned, edited in CS5, inverted, printed on transparency, exposed on Arches Platine Paper for 20min.

[jon.oman]

Nice one!

[Steve French]

Beautiful Light Capture

[Axon990]

Generally I'm not a huge fan of palladium prints, but Zaitz, yours really speaks to me. Excellent job.

[Zaitz]

Nice one!


Beautiful Light Capture


Generally I'm not a huge fan of palladium prints, but Zaitz, yours really speaks to me. Excellent job.

Thank you! It looks quite soft on the PC, especially at this size. But I am glad it seems I am on the right track!

[Zaitz]

Here is another Palladium print from the other day. The contrast on this negative was better. Might switch to Kallitype to perfect negatives and then tone them as desired.

http://farm8.staticflickr.com/7025/6496303035_c1b78b0804_o.jpg (http://www.flickr.com/photos/zboumeester/6496303035/in/photostream)

[Vaughn]

Here is another Palladium print from the other day. The contrast on this negative was better. Might switch to Kallitype...]

Very fun image, Zaitz!

Indian Rhubarb
Cascade Creek, Yosemite National Park
5x7 platinum/palladium print

[Andrew O'Neill]

Carbon transfer print from digital negative...church in Loch Awe, Scotland.

[Zaitz]

Thanks Vaughn. Still got a ways to go but I am having a lot of fun with them.


http://farm8.staticflickr.com/7002/6509565925_16bf93d404_b.jpg (http://www.flickr.com/photos/zboumeester/6509565925/in/photostream)

Another palladium print! You can see the lines through the middle from the coating rod. I am switching to a brush now.

You can see the progression and changes I made to the negative and the resulting prints:
http://img408.imageshack.us/img408/4387/comparisonnegatives.jpg

My Epson 2200 didn't print the negatives as dark as they seem here but the good news is I figured out the lines on my prints and fixed it. I'll need to do some step wedge stuff and configure QTR in the future. Right now it's just trial and error. See what is wrong with the print and guesstimate the solution in CS5!

The first had way too much contrast. The final print still has quite a ways to go but I am out of palladium! Kallitype chemicals should be here tomorrow.

Experimenting with UV light sources I just used 3 cheapo black lights for this print. They worked but took way too long. I have a new contraption with 6 bulbs. The idea came from here:
http://photo-reactive.blogspot.com/2010/11/worlds-shoddiest-uv-box.html

Awesome idea and execution I think. I am surprised it takes only 10min for him to expose a kallitype. My version is waaay more crude but it will work the exact same in the end. Hopefully mine take 10min as well.

[DJG]

Experimenting with UV light sources I just used 3 cheapo black lights for this print. They worked but took way too long. I have a new contraption with 6 bulbs. The idea came from here:
http://photo-reactive.blogspot.com/2010/11/worlds-shoddiest-uv-box.html

Awesome idea and execution I think. I am surprised it takes only 10min for him to expose a kallitype. My version is waaay more crude but it will work the exact same in the end. Hopefully mine take 10min as well.

I came up with roughly that same design on my own, using bulbs from Home Depot. Not sure what I'm doing wrong, but even with 6 bulbs (basically same setup as that article), my palladium prints don't get enough exposure, even after 2 hours (longest I've tried). Same negative under sunlight takes around 5 minutes. Also tried New Cyanotype, varying times from around 2 minutes to 2 hours, never found what I liked, but then again it was the first time I tried that process. So, for now, I've given up on it. I hope yours works out, it's fairly simple to make.

[Zaitz]

I came up with roughly that same design on my own, using bulbs from Home Depot. Not sure what I'm doing wrong, but even with 6 bulbs (basically same setup as that article), my palladium prints don't get enough exposure, even after 2 hours (longest I've tried). Same negative under sunlight takes around 5 minutes. Also tried New Cyanotype, varying times from around 2 minutes to 2 hours, never found what I liked, but then again it was the first time I tried that process. So, for now, I've given up on it. I hope yours works out, it's fairly simple to make.

That is interesting. For me here in MN right now the sun takes about 20-30min. I really hope these bulbs don't take 2 hours. The ferric oxalate is the same between kallitype and palladium. Would there be something else that would make a difference in exposure times between the two processes? Cyanotype too?

My setup is far simpler than his. Much worse looking too! :D But it will work the same. There were two bulbs at Menards. The Feit 13w output bulb that he used in that link. But also a westinghouse bulb that said it put out 40watts. I decided to use the same as him but I am wondering if the westinghouse bulb is better. It was also cheaper.

edit: Scratch that westinghouse! lol
http://www.amazon.com/Westinghouse-Lighting-3920-Blacklight-Bulb/dp/B0012IRWU0

[Vaughn]

From your link, Zaitz, this one sounds better than the Felt -- 20W vs 13W, and a few pennies cheaper:

http://www.amazon.com/Sunlite-SL20-BLB-Spiral-Blacklight/dp/B002P4TYVK/ref=pd_cp_hi_2

My times under a bank of BL bulbs are 10 minutes, perhaps up to 25 minutes. Perhaps longer for Pyro developed negatives.

If one's exposure times are a couple hours, double check to make sure one is not using TMax 100 sheet film. That particular film has an anti-UV layer on it and it takes forever to push enough UV through it for an exposure!

[DJG]

I think the one I mentioned is APX 100 (others that I tried were FP4+ and also failed, but I didn't go past an hour on those tests), but like I said, in the sunlight it's around 5 minutes and prints fine. After two hours using the 6 spiral black light bulbs, the border outside the negative is super dark (no mask around the negative, so I can see my brush strokes fine), but there's only a super faint image. I'm pretty sure I've got what Home Depot's website calls "Feit Electric ECOBULB 13-Watt (60W) Black CFL Light Bulb", or at least something that looks very similar.

This was all with fresh #1 and #2 ferric oxalate solutions from B&S, and maybe 5 year old #3 palladium solution. I got the same results with some older #1 and #2 which have been in the refrigerator the whole time, but I got rid of the old stuff thinking that might have something to do with the problem.

[Zaitz]

From your link, Zaitz, this one sounds better than the Felt -- 20W vs 13W, and a few pennies cheaper:

http://www.amazon.com/Sunlite-SL20-BLB-Spiral-Blacklight/dp/B002P4TYVK/ref=pd_cp_hi_2

My times under a bank of BL bulbs are 10 minutes, perhaps up to 25 minutes. Perhaps longer for Pyro developed negatives.

If one's exposure times are a couple hours, double check to make sure one is not using TMax 100 sheet film. That particular film has an anti-UV layer on it and it takes forever to push enough UV through it for an exposure!

Thank you for the link and info! I am mostly using digital negatives on Pictorico OHP. I think I've read somewhere that the Pictorico paper blocks some uv but I'm not positive. Well it obviously blocks something because the paper around the negative is darker than under the clear negative! Like I said, it does take ~20min in the winter sunlight here.

According to this chart the Sylvania 300 24" black light puts out a lot of uva. A lot more than most reptile bulbs and cheap black lights:
http://www.anapsid.org/gehrman2.html
http://www.amazon.com/Sylvania-22113-F20T12-350BL-Fluorescent/dp/B000TZPA10

[Vaughn]

The Pictorico material that is for making digital negatives for silver prints (it is not a transparent material) does indeed block UV. I have a fellow use in a workshop. We set his carbon tissue and negative (the Pictorico mentioned above) under a bank of BL tubes and he did a 14 to 16 hour exposure -- came out nicely.

[Jay DeFehr]

I print 510-Pyro developed negatives under a single 13w spiral fluorescent BL bulb in a large reflector that puts my bulb about 12"-15" from my print frame, and my exposure times are around 30 min.

[Vaughn]

Not a bad time for a single lamp that distance -- especially a pyro neg.

[gldfshbob]

8x10 Print. Original shot on 4x5 velvia. CMYK separation plates made printed with extra layer of blue and black. Printed on Rives BFK

[Jay DeFehr]

Vaughn,

My negs are not as high contrast as yours, as you saw at the workshop, so my highlight density is lower/printing times shorter/ relief lower.

gldfshbob,

Nice portrait!

[tgtaylor]

8x10 Print. Original shot on 4x5 velvia. CMYK separation plates made printed with extra layer of blue and black. Printed on Rives BFK

Excellent!

[tgtaylor]

Palace of Fine Arts, San Francisco

http://farm8.staticflickr.com/7026/6514082565_a4fb631a71_z.jpg

Shot on Delta 100 printed on Rives BFK as a Van Dyke.

Thomas

[Zaitz]

Some help from the pros is appreciated! I switched to Kallitype. I printed out a step wedge from light to dark 21 steps. Exposed it for 20min. It seems to need that amount of time to get through the dense portions of the negative. But the falloff is incredibly strong. Is this normal? Anything past step 4 is very dark. I've got black and white and nothing in between! Or so it seems to me.

http://img542.imageshack.us/img542/6133/img348.jpg

I tried to closely match the actual print with the scan. After step 10 (from the left) it is hard to see any delineation between steps.

Pictorico OHP
10% Silver / 20% Ferric oxalat- Bostick solution
No dichromate
Sodium Thiosulfate fixer
Ammonium Citrate developer
EDTA clearing agent
On Arches Platine.

[Zaitz]

Oh come on guys! The solution was simple! Because I am an idiot I for some reason completely forgot I was supposed to apply the Epson 2200 correction curve :o. Took me a handful of wasted prints before I remembered. I'm pretty dang good at this alt process stuff....:p Before I remembered about the correction curve I realized the negatives weren't dense enough. So I tried fiddling with them myself. Took forever to get mediocre prints. Then found the correction curve again and the print was immediately 10x better.

A few questions though. There are many guides for Kallitypes. Some state to use EDTA before fixing and some after, most after. Wolfgang Moersch recommends citric acid after developing and before fixing. Would my Fomacitro stop bath diluted work? It says it's citric acid. He also doesn't list it as necessary to use EDTA or equivalent after fixing. But I'll use anything that reduces washing times!

[tgtaylor]

Palace of Fine Arts, San Francisco 2

http://farm8.staticflickr.com/7163/6529622537_0479b52785_z.jpg

I reprinted this on Cranes Platinotype this afternoon adding potassium dichromate to the development. It's noticeably better to my eye. I'm thinking of toning it tomorrow in very dilute (1:100) selenium.

Thomas

[Andrew O'Neill]

Kilchurn Castle, Loch Awe, Scotland. Carbon transfer print. Digital negative made from 4x5 HP5. I shot this back in June of 2000. I really want to go back!

[Zaitz]

Palladium toned Kallitype - St Paul Cathedral:
http://farm8.staticflickr.com/7154/6610661079_4e7ea5e30e_b.jpg (http://www.flickr.com/photos/zboumeester/6610661079/in/photostream)

Original is on 4x5 HP5
4x5 scanned and edited in CS5
Negative printed on Pictorico OHP
Kallitype on Arches Platine developed in Ammonium Citrate
Palladium toned

[Scott Schroeder]

4X10 Lith Contact print
http://schroederworks.com/Lith/LithTerlinguaCliff001.jpg

[csant]

8x10. Verito. Gum over platinum.


http://farm8.staticflickr.com/7174/6667308573_8525fc6265_z.jpg (http://www.flickr.com/photos/csant/6667308573/)

Larger image and more info over at Flickr (http://www.flickr.com/photos/csant/6667308573/).

[Jim Fitzgerald]

Hard to follow Claudio's beautiful portrait. Beautiful! Here is a shot from Bridalveil Creek shot on the 27th of December. No snow in the valley but the ice sure was nice. 8x10 carbon transfer print.

[Vaughn]

Jim, you are developing a good eye as well as great printing skills!

Vaughn

[csant]

Thank you Jim! Your carbon prints have been a great inspiration, and I am slowly learning to do them myself. But I am still having trouble with the tissue - everything seems fine: it dries well, exposure works fine, it clears well and doesn't even frill anymore, the final image is just the way I visualized it… But once the final image is dry, several streaks appear. I am not sure yet what the reason might be…

[DELTAFOUR1212]

I was wondering if there is a filter lens that can block certain light waves that can replicate Wetplate?

[Steven Scanner]

I'm in the early stage of making my own camera. Alternative technique: a flatbed scanner instead of a film. This self-portrait is made with a camera made from two cardboard boxes that slide into each other (this is to focus the image). One box has got a magnifying glass in it. The other box is open at the bottom.
http://i889.photobucket.com/albums/ac95/stevenlangewouters/Steampunk/Scan3.jpg
In this image I'm sitting still, but if I would have moved, it would have been visable in a weird way. The flatbed scanner doesn't take a single picture during one period in time, but it scans from left to right. Taking one pixel-wide thread image at the time and combines those threads into a single picture. (try it yourself with somee paper on a scanner. Slowly remove the paper while the scan is made.)

[Vaughn]

...But once the final image is dry, several streaks appear. I am not sure yet what the reason might be…

What do the streaks look like?

As one pulls off the tissue support in the developing bath (hot water), often one sees a ripple pattern which eventually disappears during the development stage, especially if the tissue support is water proof. There are other factors -- some people's tissue seems to sepatate and the unexposed gelatin melt faster than other's.

However if one does not have the print in the hot water long enough some of these ripples do not completely melt away. They are very light and can be missed if one does not examine the print carefully. When the print dries, they get a little darker and become obvious -- especially in areas of even tonality.

So if the streaks you are seeing follow the same ripple pattern you see right after removing the tissue support, that is the probable source of your streaks.

Vaughn

[Vaughn]

...The flatbed scanner doesn't take a single picture during one period in time, but it scans from left to right. Taking one pixel-wide thread image at the time and combines those threads into a single picture. (try it yourself with somee paper on a scanner. Slowly remove the paper while the scan is made.)

Same thing happens on a copy machine, which is just a flatbed scanner with a printer attached. Fun project!

[Vaughn]

I was wondering if there is a filter lens that can block certain light waves that can replicate Wetplate?

Perhaps one that blocks almost all visible light but lets the UV through?

[Jim Fitzgerald]

First of all Vaughn, thanks for the nice comment as this means a lot to me. Your are the one I have to hold accountable for this carbon madness after all! It was rather interesting looking up from under the dark cloth to see my "audience" when I was taking that shot. Funny how many people came into the creek after they saw me! Digital madness.

Claudio, Vaughn taught me carbon transfer and he has hit the nail on the head. Sometimes the support that you use can have ripples in it and it can show through on the final image. It is a delicate balance between excellent work flow all the way through. You need to be sure that the development is complete. Try some reduction with the light on to see if that helps. There are times when you get a print that is stubborn and needs this.

I have had some success replicating the look of wetplate with some of my carbon prints.Wetplate is amazing and unique and I'm just saying the I'm trying to get some of the "look' which to me is the tone. A lot of this will depend on the image, lens I use and several other factors. So far I'm happy with the results. With carbon there are so many controls that it lends itself well to some experimentation from time to time. One MUST keep good notes as well. Thanks for drilling this into my head, Vaughn!

[csant]

Thank you Vaughan and Jim! Any comments of master carbon printers are helpful.


As one pulls off the tissue support in the developing bath (hot water), often one sees a ripple pattern which eventually disappears during the development stage, especially if the tissue support is water proof.

There, you nailed it. They look like some slight ripples - and indeed I use water proof tissue support. I have to admit I haven't noticed these exact ripples during peeling off, but there are ripples indeed. Now the next (obvious) question would be: how to avoid them?

You seem to suggest to wash it for longer - does that mean I have also to expose for longer? Since the current washing time seems to be appropriate to my exposure time. Or is the trick the technique to pull off the tissue support - maybe in one steady pull? I am (still) a bit cautious in pulling off, and it might be that I slightly pause, or slow down, at some moments…

[Vaughn]

...You seem to suggest to wash it for longer - does that mean I have also to expose for longer? Since the current washing time seems to be appropriate to my exposure time. Or is the trick the technique to pull off the tissue support - maybe in one steady pull? I am (still) a bit cautious in pulling off, and it might be that I slightly pause, or slow down, at some moments…

I "develop" to completion -- the ripples are unexposed gelatin, so it is a matter of keeping the print in the hot water until it all melts. My usual development time around 15 minutes at 120F. Basically, I develop until when I lift the print up from one corner and I see no black leaving the print and running down to the corner of the paper. You may not need to change your exposure times significantly with a longer time in the hot water.

If I have some sky or other even tonality that has some ripples that are difficult to melt off, I will put the print on a slanted piece of glass and carefully pour hot water on the print (making sure none of the water lifts the image off the paper...keeping the water from going from the bare paper towards the image area). I think the ripples are stress marks.

I have pulled the tissue support in many different ways and never have been able to do it without the ripples. I believe it is a matter of not only getting the unexposed gelatin hot enough to melt, but getting it wet too -- which does not happen with water proof supports. Jim came up with the idea of running a fingernail under the edge of the tissue support once it is in the hot water...to encourage water to get into the gelatin. I have tried it a few times -- seems to help.

Some folks have no ripples (B&S tissue just about floats off!) -- so the actual receipe for the glop might be a factor, also. But I do not know what that factor(s) might be -- something that keeps more moisture in the tissue perhaps?

Peeling off the tissue support has always been the most worrisome step of the process for me. I have extended the time it sits in the hot water before pulling it off. I use to do it one minute (as per my original instructions) -- now I wait 3 minutes or so. The old literature warned about waiting too long to pull of the tissue support, but many current practioneers wait 3 to 5 minutes with out and problems.

Vaughn

PS -- if you ever need any advise and do not want to post here -- just send me a email/pm. Glad to be of help!

[csant]

Thank you kindly, Vaughn! I'll try keeping an eye on my pulling technique, plus developing longer. And I'll get back to you with results - or more questions :) Might take a few weeks though, I am traveling the next ten days and won't be in the studio.

[Vaughn]

My pleasure. I am giving a one-on-one workshop later this week, so I get to do some printing myself, too.

Safe travels!

[MMELVIS]

First of all Vaughn, thanks for the nice comment as this means a lot to me. Your are the one I have to hold accountable for this carbon madness after all! It was rather interesting looking up from under the dark cloth to see my "audience" when I was taking that shot. Funny how many people came into the creek after they saw me! Digital madness.

Claudio, Vaughn taught me carbon transfer and he has hit the nail on the head. Sometimes the support that you use can have ripples in it and it can show through on the final image. It is a delicate balance between excellent work flow all the way through. You need to be sure that the development is complete. Try some reduction with the light on to see if that helps. There are times when you get a print that is stubborn and needs this.

I have had some success replicating the look of wetplate with some of my carbon prints.Wetplate is amazing and unique and I'm just saying the I'm trying to get some of the "look' which to me is the tone. A lot of this will depend on the image, lens I use and several other factors. So far I'm happy with the results. With carbon there are so many controls that it lends itself well to some experimentation from time to time. One MUST keep good notes as well. Thanks for drilling this into my head, Vaughn!

The master who taught the other master. Nice to see so much knowledge in one place.

[Vaughn]

"Master"...I don't know about that. I am just an artist who stumbled across the process in a magazine article and went for it. My purpose was just to make prints that sang the same song that I hear when I am in the redwoods. Look to someone like Sandy King who has not only mastered the process, but has done a tremendous amount of research and experimentation and has taught far more people than I.

I look forward to seeing Jim's show in July. It is 800 miles away, but I hope to be able to drive down, bringing my three 15 year old boys with me to see my folks down that way. I have a sneaky feeling that I will see prints that technically are equal or even surpass mine. More important than the technical aspects of carbon printing, I am very pleased to see great leaps in Jim's seeing -- based on what I seen of his work here. And to me that is far more important than the mastering of any particular process.

Vaughn

[Jim Fitzgerald]

"Master"...I don't know about that. I am just an artist who stumbled across the process in a magazine article and went for it. My purpose was just to make prints that sang the same song that I hear when I am in the redwoods. Look to someone like Sandy King who has not only mastered the process, but has done a tremendous amount of research and experimentation and has taught far more people than I.

I look forward to seeing Jim's show in July. It is 800 miles away, but I hope to be able to drive down, bringing my three 15 year old boys with me to see my folks down that way. I have a sneaky feeling that I will see prints that technically are equal or even surpass mine. More important than the technical aspects of carbon printing, I am very pleased to see great leaps in Jim's seeing -- based on what I seen of his work here. And to me that is far more important than the mastering of any particular process.

Vaughn

A master I am not either but I do appreciate the thought. I love the process and I print a lot! I mean a lot. Almost every night 2-4 prints. You learn an awful lot that way and you refine your process. As Vaughn has said Sandy has so much more knowledge of the whole process than I.

I really hope that you can make it for the opening, Vaughn. It would be great to see you and the boys again. Thanks for the nice compliment about my "seeing". This is where it all happens. I have many carbon prints that are just nice prints. Just because they are carbon prints doesn't make them good if the image itself is not well done. I learn so much from others work and I guess that some of it sticks in my aging brain!

[Jim Fitzgerald]

So I did manage three nice prints last night. These were taken on my Christmas trip to Yosemite. Got to love ice and carbon printing.

[Vaughn]

Wonderful, Jim!

What paper are you transferring onto? I can not tell from the scans, but a neutral to cool paper would seem to be able to give the whites (ice) a cooler look than the warmth of the mid-tones and shadows.

Do the prints have a duo-tone appearance, or is it too subtle to notice?

Vaughn

[Tri Tran]

So I did manage three nice prints last night. These were taken on my Christmas trip to Yosemite. Got to love ice and carbon printing.

These are beautiful Jim. I kept looking at your 8x20 Ice print and will frame it soon.
4G for you :)
Great subject, Great print, Great relief, Great work . Thanks a bunch.

@Vaughn,
Jim visited me last Friday and showed me the the 8x20 Ice print. I believed is Agfa RC roll paper .I felt in love when I first saw it so Jim has signed the print :)
The print looks real nice in person and the separation is outstanding.The highligh of the ice is glowing , very 3D due to the polar silver pigment and from the paper supported the relief .This is a Fine series and a MUST go to Jim Show in July IMO.

[sanking]

Hard to follow Claudio's beautiful portrait. Beautiful! Here is a shot from Bridalveil Creek shot on the 27th of December. No snow in the valley but the ice sure was nice. 8x10 carbon transfer print.

Nice image, Jim.

Must have been cold out there, though?

Sandy

[jon.oman]

Very nice images Jim!

[Erik Larsen]

So I did manage three nice prints last night. These were taken on my Christmas trip to Yosemite. Got to love ice and carbon printing.

Beautiful Jim, especially the first one! My compliments.
Regards
Erik

[Jim Fitzgerald]

Thanks, everyone! Sandy it was a little cold in the shade in Yosemite. Never got above 30 degrees in the shade all day. Who cares. People were making the trek up the trail to Bridalveil falls and I was in the creek bed! Go figure. That was where the action was! Funny thing was that as soon as I set the 8x10 up they noticed and started to "see". I was swarmed on by digital madness! I should have charged admission! It was kind of funny. I heard some people saying "why is he down there?"

Vaughn, Tri is correct when he speaks about the paper I used. I have some rolls of Agfa B&W RC paper that works very well with these images. It is some old stock. The white of the paper gives the ice a nice pop and the Pigment blend is very special. It gives a nice warm luminosity to the balance of the image but keeps the whites clean. These print truly "glow". PM me if you wish to know more about that. We all have our special formulas, right! Finding the right balance in creating our tissue is the fun thing about carbon printing. Also, as I recall most of these were shot with my 19" Artar.

Tri, I'm thinking I will have several of these in the show. I do need to print the one you have again as that for sure will be in. Also, I'm not done with the ice. I've got a couple more or so left to print! I am glad that they have been well received.

Erik, thanks. I love that image as well.

[Hugo Zhang]

Jim,

Very nice and I kicked myself for not been able to go to Yosemite with you for Christmas. Maybe Tri will go next time?

Tri, we two can carpool and meet Jim for his next trip and you take your 20x24 camera.:)

Hugo

[Jim Fitzgerald]

Hugo, bring the 16x20 and I'll bring the small stuff! 14x17 down.I hope to be able to post some of the larger images from this trip. I shot 14x17, 8x20 and 11x14 and have some nice images to work on.

[Kerik Kouklis]

Nice work, Jim!

[Tri Tran]

Jim,

Very nice and I kicked myself for not been able to go to Yosemite with you for Christmas. Maybe Tri will go next time?

Tri, we two can carpool and meet Jim for his next trip and you take your 20x24 camera.:)

Hugo

Last I discussed with Jim , we might come up the first week in April . The 20x24 will be there for sure. We will keep you updated.
BTW we took out the 20x24 and 14x17 last Friday at Soka University.Great place for Architecture shoot out.

Jim,
Both 8x20 MUST be side by side at your show in July. Like I said who still wants to go to Iceland when you see these prints.

[Jim Fitzgerald]

Kerik, thank you.

Tri, I always thought that the ice and the dark rocks of the Merced River and Bridalveil Creek area would be a good subject for the type of work I do. Perfecting my carbon printing over the years has allowed me to get these images printed the way I had always seen them. Don't worry they will be at the show for sure!

[Tri Tran]

Just a peek ...
8x20 Ice Panorama that I got it signed from the Artist. Thanks again Jim.



http://img32.imageshack.us/img32/8708/jimsice.jpg (http://imageshack.us/photo/my-images/32/jimsice.jpg/)

[Jim Fitzgerald]

Tri, thanks. That reminds me that I need to scan those! Also, still have much more to print. Making tissue tonight.

[Scott Schroeder]

5.5X6" ambrotypes lith printed. /the grain is growing on me
http://schroederworks.com/Lith/LithJames_001.jpg

http://schroederworks.com/Lith/LithReb_001.jpg