post alternative techniques

[Emil Schildt]

Orotone image.

I knew I had some old (100+ years old) glass negatives lying around...
Fixed them out and applied liquid emulsion on them...

After development and drying, a layer of gold paint was applied ...

What I don't know yet is, how in he** I can scan them decently or photograph them...

18x24 cm

[Randy]

A recent cyanotype from 4X5 dry plate. It came out quite dark so while still wet I soaked it in 50/50 household bleach/water to try a rescue - I had to snatch it out after just a few seconds and wash - un-manipulated scan.

[sanking]

Gold toned Kallitypes are archival. Sandy King also says that a Kallitype print toned in a platinum palladium toner is essentially a platinum palladium print. It's a poor man's platinum print. I've stuck with kallitypes, toned in gold or weak selenium. Been making them for 10 years and very happy.

I have been doing a lot of experimenting with carbon printing and have not made any kallitype or vandyke prints in a very long time. At one point in time I preferred kallitype over vandyke because there is more contrast control with ferric oxalate than with ferric ammoniuim citrate. This can be very important when printing with in-camera film negatives. When I switched to digital negatives I switched to vandyke because the work flow is much less complicated and contrast control is done with the negative, not process.

As for toning, if the toning is done to completion either gold, platinum or palladium toning should result in replacement of up to about 90% of the silver, thus giving the print much greater permanence than non-toned vandyke or kallitype prints. Toning to completion with platinum or palladium should result in a print that has the color of a palladium or platinum print. With gold toning the image color following toning to completion should result in a bluish black image, highly distinctive in character.

Unfortunately most toning is not done to completion, which can be easily recognized by the color of the image if one has learned to know what to expect. Getting gold toning right is somewhat more difficult than pallaidium or platinum toning in my experience, probably because results in working with gold toning seems highly dependent on RH, as well as the particular toning formula.

Sandy

[bob carnie]

Two recent images that are going into a show in Montreal this month.

Three separation negatives were made of the Black and White File.
One was for the Palladium , where contrast and sharpening was built up.

Then going back in the history , a negative was made for the shadow area only and this was the blue coating- daniel smith pigments with gum and ammonium dichromate.

then going back in the history , a negative was made for the highlight regions only and this was the orange coating- daniel smith pigments with gum and ammonium dichromate.

I am really enjoying separating out the tonal regions and using gum to colour in regions.

[paulbarden]

Two recent images that are going into a show in Montreal this month.

Three separation negatives were made of the Black and White File.
One was for the Palladium , where contrast and sharpening was built up.

Then going back in the history , a negative was made for the shadow area only and this was the blue coating- daniel smith pigments with gum and ammonium dichromate.

then going back in the history , a negative was made for the highlight regions only and this was the orange coating- daniel smith pigments with gum and ammonium dichromate.

I am really enjoying separating out the tonal regions and using gum to colour in regions.

These are both quite intriguing, Bob. I always enjoy work that employs processes that obscure as much as they reveal.

[koraks]

Sepia-toned composite print on Adox MCP310 13x18cm RC paper from 4x5" collodion negative and 6x6cm Fomapan 200 negative.

[Jim Fitzgerald]

This is something a little different when it comes to Alternative techniques. I produced a completely hand made fine art collector book of carbon transfer prints. The book documents a day in Yosemite National Park 11 years ago when I photographed the Black Oaks. I did all of the work. I did the binding, cover design and special clamshell box that houses the edition along with a special portfolio which contains two carbon transfer prints suitable for framing. There are 8 images in the book and the special thing about this book is all of the text was printed in carbon transfer as well. I believe that is a first. I'm doing research to see if anyone else has printed text in carbon transfer. I unveiled the book at my recent opening in Astoria.

[jon.oman]

Very impressive Jim!

[Jim Fitzgerald]

Jon thanks it has been fun. A lot of work but very rewarding.

[koraks]

Jim, that is awesome! Bookbinding is a lot of fun, by printing the text in carbon you went where no man has gone before...I'd love to peruse it one time (a man can dream!)