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captainscot
6-Oct-2014, 09:31
Nice image and a good job. You did not overdevelop the negative or the highlights would be blown out. You developed it the correct amount for the printing process of choice.
Thanx Jim!,i am still trying to figure out what a good negative should look like for this process, i have started to shoot 2 sheets for everything, one processed for a silver print and the other for kallilitypes.
Emil Schildt
28-Oct-2014, 11:57
A freshly made bromoil print. ca 20x24"
La Traviata...
andreios
28-Oct-2014, 12:02
That's fantastic, Emil! Almost otherworldly image..
Tin Can
28-Oct-2014, 12:26
A freshly made bromoil print. ca 20x24"
La Traviata...
I am starting to think they appear 'magically'. I know better.
A beautiful lady always helps.
Great image, great art!
Andrew O'Neill
28-Oct-2014, 12:41
Thanx Jim!,i am still trying to figure out what a good negative should look like for this process, i have started to shoot 2 sheets for everything, one processed for a silver print and the other for kallilitypes.
Excellent first attempt. I develop my film in pyrocat-hd, which allows me to print the same negative in silver and alt process (except for HP5!).
Gorgeous!
A freshly made bromoil print. ca 20x24"
La Traviata...
Emil Schildt
28-Oct-2014, 13:39
Thanks all - as almost stated: with a model like this, it is not too difficult....
Emil Schildt
30-Oct-2014, 11:51
Portrait of Julie.
Cropped 13x18 cm negative.
Bromoil Print.
Emil
I love your Bromoil work. Are the prints enlarged from the 13X18 negs?
Best regards
Emil Schildt
31-Oct-2014, 04:18
Emil
I love your Bromoil work. Are the prints enlarged from the 13X18 negs?
Best regards
they are.
(thank you)
gandolfi, one more question - what inks do you use? are they litho-inks+lenseed oil or some from tube or maybe somewhat else?
i have tried some cheap oil-based inks and they works too bad.
Emil Schildt
31-Oct-2014, 17:09
I use lithographic oils - and never lenseed oil - I most often need to make the oil stiffer, not softer, so I use Magnesium Carbonate to stiffen the oil...
andreios
3-Nov-2014, 14:50
I didn't know where to put them, so I decided here...
I was playing with my "new" big enlarger, made these two lith prints on rather old Kodak Bromesko paper..
Negatives from 13x18cm Sinar Norma, Adox CHS 100 (old) developed in Moersch Tanol
124515
124516
My first feeble attempts at carbon transfer. 4x5 negs .not without issues, but I have hope.
124600
first try
124599
second try added exposure/decreased amm dichro
My first feeble attempts at carbon transfer. 4x5 negs .not without issues, but I have hope.
You have an image -- more than I can say for my first few attempts! Looking great!
Jim Fitzgerald
5-Nov-2014, 13:13
My first feeble attempts at carbon transfer. 4x5 negs .not without issues, but I have hope.
124600
first try
124599
second try added exposure/decreased amm dichro
Rick, nice job for a first try! Keep at it as it gets easier each time.
Here are two 8x10's from my recent Redwood trip. Both from Prairie Creek. The mushrooms were in our campsite! Love the Redwoods!
Thanks Jim, more incentive to continue.
phillip2446
5-Nov-2014, 16:58
5x7 tintype photo
124611
drgoose
10-Nov-2014, 16:17
OK, this is my second tintype using the Rockland Collodion Parlour Kit. There are a bunch of artifacts in the emulsion that I would love to know 1) what to call them and 2) how do they occur.
a) Little black dots sprinkled throughout. They look like the emulsion disappeared from those spots. When originally coated and even after the fixing those spots were not there. They appeared as the plate dried.
b) Little wavy lines on the edge of the plate which when you examine the plate looks like the emulsion wrinkled.
All help greatly appreciated.
Joaquin
124906
https://farm9.staticflickr.com/8662/15583685279_9768cbf33e_b.jpg
[View Large (https://farm9.staticflickr.com/8662/15583685279_8cb1087cff_o.jpg)]
https://farm6.staticflickr.com/5606/15583696219_e8aa22fae6_b.jpg
[View Large (https://farm6.staticflickr.com/5606/15583696219_1cbe19b323_o.jpg)]
https://farm8.staticflickr.com/7554/15767653681_e661061e09_b.jpg
[View Large (https://farm8.staticflickr.com/7554/15767653681_63ff60b0f2_o.jpg)]
Death Valley National Park, CA
Ebony RW810, 300mm f/5.6 Rodenstock Apo-Sironar-N, 8x10 Inch Wet Plate Collodion on Aluminum.
-Dan
Brian Bullen
11-Nov-2014, 21:00
Dan, those first two are fantastic! Love the tones and composition.
Thanks. I Find that my V700 does not like Ferrotypes much, every scan is different. Most of the time I don't like the scanner's rendition, so I'll ditch the colors, and make a bronze toned version in Photoshop.
Dan, those first two are fantastic! Love the tones and composition.
ghostcount
11-Nov-2014, 22:12
Thanks. I Find that my V700 does not like Ferrotypes much, every scan is different. Most of the time I don't like the scanner's rendition, so I'll ditch the colors, and make a bronze toned version in Photoshop.
Nice Dan.
Try this method (http://www.ambrotype.ru/articles/ambrotype-scan_en.html).
Nice Dan.
Try this method (http://www.ambrotype.ru/articles/ambrotype-scan_en.html).
Thanks Randy,
-DP
"Mountains and Clouds" - a rather poor attempt!
A few weeks ago, I visited Cades Cove in the Smokies with the 14x20. I made a few images on Green Xray film. This is probably the only decent one out of the bunch.
It has some flare and i probably didn't position the GND filter well. I used the Nikon M 450 lens at f64, ISO 200, 0.9 GND filter, souped in Rodinal, Jobo system.
http://nanadadzie.com/darkroom/pix/Mountain-Clouds.jpg
The image is 11" x 17" platinum-palladium print and is on Arches platen paper.
Emil Schildt
13-Nov-2014, 05:05
making images again for the first time in a loooong time...
This is Marie
Bromoil Print (cropped 13x18cm neg)
Dynasty
13-Nov-2014, 23:52
Just a bit of explanation for this particular photo.
Dubai is a dreamland for many people. Attracting different nationalities from all around the world. On the other side Dubai has a not that fancy side.
This photo tries to show that contrast in quality of life. Many workers from poor countries come to Dubai to make their life better and help their families back home.
They are looking for a "big catch".
In the FG: construction workers are trying to string catch fishes to have something to eat for lunch on their day off.
In the BG: a 4 story luxury yacht on the shore of a private owned island and on the horizon one of the best luxury hotels of the world: Atlantis on the Palm Island.
Big Fish
Agfa Ansco 8x10 Commercial View
304.8mm, 8x10 Turner-Reich Anastigmat F:7.0 Series II.
Silver gelatin dryplate
2sec@F:32
8x10 (croped in post)
125019
Please share your thoughts.
That image just works on so many levels. The only critique I could offer is the title in the corner; as gar as I'm concerned, it should ideally blend in with the higher tones of the image itself - or it could be left out entirely or moves to the matte. But then I'd be critiquing a great image that I did not and probably couldn't have made myself.
Jim Fitzgerald
14-Nov-2014, 08:51
Daniel, nice plates. Can't. Wait to see them.
Scott Schroeder
16-Nov-2014, 08:02
Dan, I've always wanted to take my wet plate stuff to the desert. I might in Januauary...Nice plates at zabrinskie point!
Jim, I love that redwoods print. It does well to capture the subtle light of a forest. Well done.
Jim Fitzgerald
16-Nov-2014, 08:14
Scott, thanks. The redwoods are great subject matter. The light is amazing all the time.
Emil Schildt
18-Nov-2014, 13:30
Well - a bit alternative at least...
Krstina painted with light - then the negative was solarized - printed (about 20x24") using liquid emulsion on very heavy paper - wasn't satisfied with the background so I made my self a cup of coffee - actually two... One I drank - the other used to melt the emulsion, and then manually messing the coffee melted emulsion around... Re dry - then the whole image was direct toned in brown toner...
that's it...
(Pol 665 pos/neg polaroid)
Emil Schildt
20-Nov-2014, 13:22
silence....
Well - here's my second largest image I ever made..
Painted with light - liquid emulsion on very heavy paper - brown toned - then selenium toned and finally coffee toned..
size: about 28x43"
Pol 665 pos/neg.
andreios
20-Nov-2014, 13:29
Now that would be something to behold. But I don't suppose you could bring that one too prague
Emil, what you hear is not silence. It's the sound made when one's jaw drops form beholding the amazing!
Really great work.
silence....
Well - here's my second largest image I ever made..
Painted with light - liquid emulsion on very heavy paper - brown toned - then selenium toned and finally coffee toned..
size: about 28x43"
Pol 665 pos/neg.
Tin Can
20-Nov-2014, 14:50
Emil, both look great. Recently a guy I know was severely discontented I was proposing something similar...
I think you have great image and technique, to Hell with my critic.
:)
Emil Schildt
22-Nov-2014, 06:02
a new videl has been made.
Me making a Bromoil Print..
See it if you want..
https://www.youtube.com/watch?v=W6PYiWxod9w&feature=youtu.be
Erik Larsen
22-Nov-2014, 06:59
That was very enjoyable Emil! Nice ashtray!:)
Emil Schildt
22-Nov-2014, 08:09
Nice ashtray!:)
good of you to notice... couldn't help my self.. :D
I'm really curious about the lightpainting and how you estimate how long it takes to expose the subject, but that's for the pre-alternative technique forum ;-)
125767
HP5+, in Korona 8x10, Gum print, 3 layers on Fabriano Artistico
David Schaller
30-Nov-2014, 07:47
125767
HP5+, in Korona 8x10, Gum print, 3 layers on Fabriano Artistico
This one is fantastic. Bravo.
tgtaylor
30-Nov-2014, 10:08
That was great Emil!
Thomas
Jim Fitzgerald
9-Dec-2014, 21:47
A soft focus carbon transfer print. I printed this on Matte paper so no relief but some beautiful tones. 8 x 10 print.
andreios
10-Dec-2014, 00:04
This looks very nice, Jim.. A dreamy image, the print must me something to (be)hold...
Jim Fitzgerald
10-Dec-2014, 07:59
Andreios, yes they are something to see. Soft focus and carbon work very well together.
andreios
10-Dec-2014, 11:08
Andreios, yes they are something to see. Soft focus and carbon work very well together.
Well, I think it is highest time for me to try both!
captainscot
14-Dec-2014, 08:35
126546 Platinum toned Kallitype on Arches platine
Just posted these over on the Dec Portrait thread, but thought I'd stick them here, too.
Took these as possible senior portraits...two were used. On 5x7 Tri-X, developed in HC-110, scanned platinum/palladium prints. The first three guys are mine, the fourth is a friend of theirs.
Portrait is definitely not my forte! But at least I exposed, developed and printed images in a relatively short time period! I have 8x10 and 11x14 exposed film still waiting from last February!
Jim Noel
21-Dec-2014, 10:40
Good work Vaughn. They may never be world famous portraits, but I know from experience how valuable they will be to bring back memories of good times many years from now.
They're certainly more distinctive than most senior pictures!
andreios
5-Jan-2015, 09:40
https://farm8.staticflickr.com/7542/16180738896_dd4ed68f7b_z.jpg
(https://flic.kr/p/qDQvWQ)Cry unto Him... (https://flic.kr/p/qDQvWQ) by andreios (https://www.flickr.com/people/30673996@N04/), on Flickr
Kallitype print from 18x24cm negative.
Nice stuff andreios! What developer did you use for this one, sodium citrate? I've been waiting for my kallitype chemicals for about 2 weeks now...
andreios
5-Jan-2015, 11:17
Yes, sodium citrate, fairly old stuff that I keep replenishing... I've recently also tried sodium acetate based developer for black tones, works good for some images.
And this was untoned? A regular negative, or digital? I can't wait to try my hands on these, but I'm not sure if I can pull them off with the digital negatives I can currently make.
andreios
5-Jan-2015, 11:23
Split toned in gold and selenium. In camera negative, Adox CHS 100 (old Efke stuff).
Hm, looks like I'm in for quite a challenge.
andreios
6-Jan-2015, 01:43
Hm, looks like I'm in for quite a challenge.
But it will be a great and very rewarding one!
Anyway, even though I don't consider myself an expert on this, if you need any help with kallitypes, just drop me a line, I'd be happy to help.
I sure hope so! Like I said, my digital negatives are likely to pose some challenges to me in terms of contrast control, so I would be very happy if you could share your views on that issue with me. I get some mixed results when reading about controlling contrast by varying the silver nitrate/oxalic acid ratio in the sensitizer (no specific information to be found, but a suggestion by a printer who indicates he plays with this paramter) and adding dichromate to the developer (should increase contrast, but apparently by simply truncating the upper part of the curve?).
Vincepad
9-Jan-2015, 17:36
Question: I've been playing with gum dichromate printing for a few weeks and have been having some decent success printing on Canson Aquarelle 140lb/300gsm, Strathmore 400 series 140lb/300gsm, and to a lesser extent Arches Aquarelle 140/300. I've been printing on all three without adding any extra sizing.
Today I decided to size my paper with Knox Gelatine (7g/200mL water, hardened with 3mL of glyoxal in the sizing solution - i.e., following Katharine Thayer's method). Well, suddenly my exposure times (using a UV exposure unit that I've been using all along) went from 3-8 minutes to less than 30 seconds in order to get a print that clears the highlights. And yes, somehow, I'm getting the gum in the shadows to harden such that it doesn't come off during development.
My question: is it possible for sizing, of all things, to have such a dramatic effect on exposure time? I mean this is just silly.
I sure hope so! Like I said, my digital negatives are likely to pose some challenges to me in terms of contrast control, so I would be very happy if you could share your views on that issue with me. I get some mixed results when reading about controlling contrast by varying the silver nitrate/oxalic acid ratio in the sensitizer (no specific information to be found, but a suggestion by a printer who indicates he plays with this paramter) and adding dichromate to the developer (should increase contrast, but apparently by simply truncating the upper part of the curve?).
I have not printed with kallitype in several years, but at one time it was one of my favorite alternative processes. I have article on my web site of the working procedures that I used. http://www.sandykingphotography.com/resources/technical-writing/the-kallitype-process
When I wrote the article, a decade or more ago, I was still printing primarily with ULF camera negatives and had to find some way to control contrast since it is very hard to nail that completely in exposure and develoment. There are two ways to control contrast with the process, 1) you can add a bit of dichromate to the emulsion, or 2) you can add dichromate to the developer. Small amounts can have a huge impact so I added it to the developer. From the article,
"Contrast can be controlled by the addition to the developer of a few ml of a 5% solution of potassium dichromate solution. The practical limit ranges from as little as 1 ml per liter of developer up to about 16 ml per liter. This allows the use of negatives from a DR as low as about 1.2 to a maximum of about 2.2. If too much dichromate is added, printing times will increase considerably and the image will take on a granular look. For negatives that have been developed to a DR of about 1.8 add about 2ml of the 5% potassium dichromate per liter of developer."
Kallitype is a beautiful process and when toned with gold, palladium or platinum, quite permanent. With noble metal toning a very high percentage of the silver is replaced by the more noble metal. The look can be almost identical to pt/pd, when toning with platinum or palladium, or a very beautiful cool blue black, with gold toning.
Sandy
andreios
10-Jan-2015, 05:12
... or a very beautiful cool blue black, with gold toning.
Sandy
Yes, that is quite right - and quite beautiful.
https://farm9.staticflickr.com/8578/16242988151_c145959b66_z.jpg
(https://flic.kr/p/qKkytR)Wreath (https://flic.kr/p/qKkytR) by andreios (https://www.flickr.com/people/30673996@N04/), on Flickr
(but at least for me it's difficult to match when scanning the print)
UlbabraB
10-Jan-2015, 13:40
https://farm8.staticflickr.com/7525/15617286263_f72d672543_c.jpg (https://flic.kr/p/pN3F7g)Piazza San Marco (https://flic.kr/p/pN3F7g) by Filippo Natali (https://www.flickr.com/people/98545448@N00/), on Flickr
Piazza San Marco (Venice), 5x7" Van Dyke brown print on Fabriano Artistico, 15 minutes pinhole exposure.
Ramiro Elena
11-Jan-2015, 03:36
Fantastic Filippo.
I have not printed with kallitype in several years, but at one time it was one of my favorite alternative processes. I have article on my web site of the working procedures that I used. http://www.sandykingphotography.com/resources/technical-writing/the-kallitype-process
Thanks for posting the link; I hope it'll serve others - I had already found it and I think I must have read it at least three times now. I will revisit it many more times, I'm sure! Your article was the primary reason for me to order the chemicals and I can't wait to get my hands dirty on this process! (Hopefully not as dirty as on carbon prints though - and yes, I do wear gloves whenever toxic chemicals are involved.)
When I wrote the article, a decade or more ago, I was still printing primarily with ULF camera negatives and had to find some way to control contrast since it is very hard to nail that completely in exposure and develoment. There are two ways to control contrast with the process, 1) you can add a bit of dichromate to the emulsion, or 2) you can add dichromate to the developer. Small amounts can have a huge impact so I added it to the developer.
I was only vaguely aware of the possibility of adding dichromate to the sensitizer. It seems like a more flexible approach than adding it to the developer, as it will eradicate the need to store different batches of developer with different concentrations of dichromate. I'll try to do without dichromate at first, but given the nature of the negatives I use, I'm afraid I'll have to resort to it anyway. Do you have experience with varying the ratio of oxalic acid to silver nitrate to boost the density? I imagine it could help in accommodating for thin (digital) negatives like in cyanotype and analogous to increasing the pigment in carbon tissue.
Kallitype is a beautiful process and when toned with gold, palladium or platinum, quite permanent. With noble metal toning a very high percentage of the silver is replaced by the more noble metal. The look can be almost identical to pt/pd, when toning with platinum or palladium, or a very beautiful cool blue black, with gold toning.
Perhaps one day I'll try my hand at gold toning, but I want to learn the basic process first because I start spending a lot of money on gold chloride. That stuff is seriously expensive, especially from the source where I get my chemicals from...I am considering trying selenium first when I get to the stage where it makes sense to tone my prints. I'm aware that it doesn't even come close to gold or pt/pd in terms of longevity, and I notice that many don't care for the tones it creates, but I'll have to find out for myself. It's certainly less cost prohibitive.
I also saw a couple of kallitype prints by Wolfgang Moersch which he mentioned having toned with carbon toner. I can't find much info on that, apart from his own MT2 carbon toner (http://www.moersch-photochemie.de/content/shop/toner/18/lang:en), but I can't find anything about what it does in terms of chemistry. There is a page on his site with examples (http://www.moersch-photochemie.de/content/artikel/anleitungen/116/lang:de) (German only), but still no clue as to the chemistry. I tried contacting dr. Moersch once last year, but he didn't respond. Perhaps he was busy making gorgeous images...
sanking
13-Jan-2015, 17:09
Koraks,
Glad that you found the article useful. And good luck with your work.
BTW, it is probably better to keep your hands clean with kallitype than with carbon. With carbon you can just wash off the pigment, but silver nitrate on your hands will cause a very dark stain that lasts several days!!
Adding dichromate to the sensitizer should work, but only a small amount will be needed. Even 5 ml of a 5% solution in a liter of sodium citrate develope will have a significant impact on print contrast.
[QUOTE=koraks;1206377]Thanks for posting the link; I hope it'll serve others - I had already found it and I think I must have read it at least three times now. I will revisit it many more times, I'm sure! Your article was the primary reason for me to order the chemicals and I can't wait to get my hands dirty on this process! (Hopefully not as dirty as on carbon prints though - and yes, I do wear gloves whenever toxic chemicals are involved.)
Sandy
http://historyczni.eu/main/wp-content/uploads/2015/01/sm_MG_6515.jpg
van dyke,
captainscot
24-Jan-2015, 17:39
128448 8X10 Gold toned Kallitype on Arches Platine
Beautiful image, captainscot! I suspect the color is a bit cooler in the actual print than it appears on my monitor, but I like it how I see it now as well!
Btw, I have some questions concerning kallitypes and Van Dyke. Because I didn't want to further disturb this thread by lengthy Q&A's, I created a new thread in the Darkroom forum (http://www.largeformatphotography.info/forum/showthread.php?119678-Some-advice-needed-on-Kallitype-and-Van-Dyke-chemistry). Perhaps the people who read this thread and have experience with the chemistry in these processes could help me out, if you will.
captainscot
27-Jan-2015, 15:11
Beautiful image, captainscot! I suspect the color is a bit cooler in the actual print than it appears on my monitor, but I like it how I see it now as well!
Btw, I have some questions concerning kallitypes and Van Dyke. Because I didn't want to further disturb this thread by lengthy Q&A's, I created a new thread in the Darkroom forum (http://www.largeformatphotography.info/forum/showthread.php?119678-Some-advice-needed-on-Kallitype-and-Van-Dyke-chemistry). Perhaps the people who read this thread and have experience with the chemistry in these processes could help me out, if you will.
Thanx for the comment, yes the image is a touch cooler and a bit darker, its hard to describe the actual color, the sky is pretty much neutral gray but the hay bales and grass in the foreground have a hint of blueish magenta in it. I have only been doing this a few months but its alot of fun and very addicting.
Erik Larsen
31-Jan-2015, 10:49
An old Hudson in the weeds near Flaming Gorge. A bromoil print using lewis bromoil paper and senefelder crayon black ink. Forgive the iPhone pic please.
128795
Emil Schildt
8-Feb-2015, 09:13
Laura - Bromoil Print (12x16) - 9x12 Foma film.
Laura - Bromoil Print (12x16) - 9x12 Foma film.
Nice Emil! I'm attending a bromoil and oil print workshop next month, can't wait...
Do you use modern papers for bromoil as I've read that they stopped manufacturing papers specific for bromoil printing?
Emil Schildt
8-Feb-2015, 17:30
Nice Emil! I'm attending a bromoil and oil print workshop next month, can't wait...
Do you use modern papers for bromoil as I've read that they stopped manufacturing papers specific for bromoil printing?
be careful!! It is highly addictive!!!
I never use pre made papers - I use liquid emulsion and effectively make my own papers - that way I am sure they are not hardened at all...
(I made a book on it - you can take a prewiev here: http://www.blurb.com/bookstore/detail/3544067
be careful!! It is highly addictive!!!
I never use pre made papers - I use liquid emulsion and effectively make my own papers - that way I am sure they are not hardened at all...
(I made a book on it - you can take a prewiev here: http://www.blurb.com/bookstore/detail/3544067
:) Thanks for the link and info - looks interesting.
I like the painterly look of bromoil and oil printing
Also found and interesting documentary about Norman Gryspeerdt who explains it very well - and who was apparently a very good 'Photoshop avant la lettre' expert :)
https://www.youtube.com/watch?v=z6fnHmydwJc
andreios
10-Feb-2015, 01:47
From modern papers one that works best (or rather least bad) is Fomabrom IV 123 with lustre surface. But I am also trying my way around liquid emulsion as per Emil's advice and it works better indeed.
(You can also try fomabrom 112 matte, but that is very picky when it comes to soaking time and ink quality. )
Emil Schildt
16-Feb-2015, 04:04
Alternative - even for me...
Playing with Bromoil - this time using Gold paint and dried flowers....
Carbon Transfer - truly an amazing process!
The negative for this print was captured on 14" x 20" green Xray negative with Nikon 450mm lens at f64.
Try as I may, I couldn't get the details of the pier to print with several different techniques.
I even tried several layers in a gum print - no success!
As I got better at pouring 14x20 carbon tissue, I decided last week to see if I could get any success with carbon.
Well...
http://nanadadzie.com/darkroom/pix/Pier.jpg
The image is 12" x 18" on fixed out Ilford 300 photo paper
I used Black Cat India ink as pigment.
Sorry about the reflections on the capture (done with a dig cam) does not do the print justice!
Jim Fitzgerald
20-Feb-2015, 21:13
Nana, very nice and not an easy print to make. I know what the print must look like. Carbon printing is very addictive. Continue on!!
I'm jealous of the evenness of the sensitization; how do you sensitize? Very well done! You could consider bringing the dichromate concentration down a bit further; how much dichromate did you use?
Nana, very nice and not an easy print to make. I know what the print must look like. Carbon printing is very addictive. Continue on!!
Jim, thank you! Just trying to make the bar you guys have set!
I'm jealous of the evenness of the sensitization; how do you sensitize? Very well done! You could consider bringing the dichromate concentration down a bit further; how much dichromate did you use?
Thanks Koraks! I mix dichromate with acetone in a 1:1 ratio and use a foam brush to brush it on the tissue. The dichromate concentration is ok. If anything, I'll reduce the exposure time. Also, The image is actually lighter. The capture is the problem.
Thanks for clearing that up for me - literally ;) Do you use a foam brush? Also, I always seem to get slightly darker edges in my carbon prints; the highlights in the center will be fine, but they will always be too dark on the edges. Have experienced this at all? It's one of the bugs I still need to iron out.
Yea, i use a foam brush. Regarding the darker edges, i haven't had that. Maybe the more experienced carbon printers can clear that up! [emoji4] However, if I may hazard a guess, could it be that your coating technique leads to pooling of the sensitizer on the edges?
I considered that, but it doesn't seem to be the case. If anything, the opposite, but that wouldn't make sense. I'll have to do some more testing and observation.
Jim Fitzgerald
21-Feb-2015, 09:11
Hard to say what may cause the darker edges. Don't over brush. When using acetone which dries fast you can get streaks if you brush to much. Just get an even coat. Do half the solution and let dry and then do the other half and let dry.
The dark edges could be from the exposure unit? What are you using?
Hope this helps.
Hi Jim, thanks for your thoughts once again! Exposure may be the problem, as I use a face tanning unit placed at about 10"from the frame. There may be reflections that create hot spots. As for sensitizing, I'm doing exactly what you recommend; brush in half of the liquid, brush until tacky, then apply the rest in the same way. I brush quite rapidly so the puddles of liquid don't seep in locally. I don't apply any force when brushing to prevent streaks. Streaks are not an issue in my way of working it seems. It may be time to build a better exposure box.
bob carnie
22-Feb-2015, 06:41
I was lucky enough to see some of Ginette's work, simply amazing prints.
Here some examples from my Lumen and Chemigram project on B&W Fiber based gelatin papers.
Project is on body image vs food and diet.
120474
120475
First image is on Forte Warmtone (cherries) and second image on Ilford Warmtone (red salad).
I post a request in the For sale section for old papers, too fogged for regular printing.
http://www.largeformatphotography.info/forum/showthread.php?115773
B&W Warmtone fiber papers are very welcome. Forte Warmtone react beautifully, I suspect than Fortezo will be similar.
I will be happy to have some warmtone Oriental or Kentmere as I don't test any of theses.
We can make exchange, shipping each others the items. Take a look at my profile to see my equipment, large format or darkroom.
Any comments are welcome too.
The prints are straight, I didn't try any toners till now. So prints are mostly fix first and some developper and fix alternate sequences.
Jim Fitzgerald
22-Feb-2015, 07:17
Hi Jim, thanks for your thoughts once again! Exposure may be the problem, as I use a face tanning unit placed at about 10"from the frame. There may be reflections that create hot spots. As for sensitizing, I'm doing exactly what you recommend; brush in half of the liquid, brush until tacky, then apply the rest in the same way. I brush quite rapidly so the puddles of liquid don't seep in locally. I don't apply any force when brushing to prevent streaks. Streaks are not an issue in my way of working it seems. It may be time to build a better exposure box.
Koraks, I use a NuArc 26 1KS exposure unit. The vacuum frame holds everything down tight and gives me even exposure even with 14 x 17 prints. I'd say that the exposure unit may be your problem. Best to build a BLB exposure unit bigger than the largest print you think you will make. If you can find a NuArc unit all the better.
I considered the nuarc option, but they are hard to find used here and I think a home made variant would be a lot less costly and just as effective. Although the face tanner so far works very well for the other process I use, i.e. cyanotype and van dyke brown. Further experimentation is needed, but I'm going to process some more small format stuff first before I'm going to loose myself in more carbon printing ;)
Paper negatives are by nature more difficult to use for alternative process work in that the exposure times are longer.
However due to the low iso of photo paper, they are great with barrel lenses.
Of all the processes, I found the kallitype process most useful when using paper negatives.
With my exposure unit, the exposure time is about 8 - 10 min, which is really not bad.
Below are a few examples:
Shot with Voigtlander Euryscop Series II No7 at f5.6, 8x10, gold toned
http://nanadadzie.com/darkroom/PaperKalli/Vine.jpg
Shot with 18" Verito at f4, 8x10, platinum toned
http://nanadadzie.com/darkroom/PaperKalli/Shoes.jpg
Shot with B&L Tessar 4000 mm at f11, 11x14, platinum toned
http://nanadadzie.com/darkroom/PaperKalli/Vases.jpg
The paper used was Arista EDU Ultra RC glossy
Developer was the LegacyPro Eco Pro BW Paper Developer in the Jobo
Comments are welcome.
andreios
22-Feb-2015, 14:35
Nana, thank you for sharing these images and your work flow with us..
Nana, thank you for sharing these images and your work flow with us..
Andrej, you are welcome!
Ramiro Elena
26-Feb-2015, 05:29
It is nice to go back to the simplicity of Cyanotypes after dealing with Albumen/Salt prints.
Foma 5x7 in Moersch Tanol.
Roiboos toned Cyanotype.
https://farm9.staticflickr.com/8610/16465147978_fbcc8fe87d_c.jpg (https://flic.kr/p/r5YbRG)
img359 Roibos Toned (https://flic.kr/p/r5YbRG) by rabato (https://www.flickr.com/people/71073452@N00/), on Flickr
Very nice result, Ramiro! I'm surprised the contrast of the silver negative seems manageable for the cyanotype process. All I ever got when printing cyanotypes from silver negatives was just about pure blue/black and pure white. Is this classic cyanotype or do you use some sort of oxalate instead of citrate? Interesting idea to use rooibos tea; I have to try that too.
Emil Schildt
26-Feb-2015, 14:22
Very nice result, Ramiro! I'm surprised the contrast of the silver negative seems manageable for the cyanotype process. All I ever got when printing cyanotypes from silver negatives was just about pure blue/black and pure white. Is this classic cyanotype or do you use some sort of oxalate instead of citrate? Interesting idea to use rooibos tea; I have to try that too.
nice indeed - I have never have had any trouble using real negatives... and I LOVE using Rooibos tea for this..
Ramiro Elena
27-Feb-2015, 02:18
I was actually shooting for salt prints (strong contrast and density) but this particular negative came out under exposed. This print was developed in an acetic acid bath which delivers a wider tonal range. The toning changes the look quite a lot too, specially if you bleach first. Rooibos was a suggestion by Gandolfi. It's great!
I must try the rooibos option! How long did you tone for and how strong was the tea? Previous attempts with black and green tea haven't produced results with me that I found preferable over untoned versions. Also, I can see how this worked with a regular negative given its underexposure. I always 'develop' in a slightly acid bath as well (acetic acid; I use about 20ml of cleaning acid of I think 8% on half a liter of tap water), but normal negatives are way too contrasty for my workflow. I mostly make cyanotypes from digital negatives, which I print with a color density of about -30% IIRC with an additional offset for the white point (resulting in a very low-contrast negative), as opposed to +50% (with full tonal scale from densest black to entirely clear) for Van Dyke brown, so the cyanotype process as I follow it just won't handle very contrasty negatives well. Hence my surprise at this coming out so well.
Emil Schildt
27-Feb-2015, 12:54
I make the rooibos tea rather strong... at least four times stronger than you would make it for drinking...
then just watch it.. see example..
Excellent example, that helps! Thanks!
andreios
27-Feb-2015, 14:23
Some great use of roiboos... Are you using the traditional cyanotype formula or the "new cyanotype" developed by Dr. Ware?
(I'm just asking because I've run out off cyanotype chemistry and am thinking about giving the "new" one a try and I was wandering if its' response to toning is the same.)
Ramiro Elena
27-Feb-2015, 14:25
And if I recall correctly, no bleaching in those. I am amazed you get such tones without it.
Harold_4074
27-Feb-2015, 18:25
Gandolfi,
Are the examples you gave direct scans from prints? I've tried a few variants on toning with tea (including Roiboos) and always see quite a bit of staining of the paper base. I'd love to know how to get the tone you demonstrated without an unpleasant yellowish-brown color in the paper.
My favorite cyanotype toner to date was made by boiling redwood shavings; I tried normal well water (pH 8.4) and water acidified to pH 6 with vinegar, and in both cases got a very nice brownish-black with very little base staining. Side benefit: I can drink the Roiboos while I work on the prints....
Emil Schildt
28-Feb-2015, 09:01
a rare landscape from me - in Bromoil..
A bromoil of my daughter's second favorite toy, Arlo. This is my second bromoil so far. 130073
"On it's side" - a palladium print
http://nanadadzie.com/darkroom/pix/OnItsSide.jpg
One issue with the metal-based processes (pd/pt, cyanotypes, kallitypes etc) is that the image sinks into the paper.
This affects the clarity of the image.
In an effort to alleviate this, I have recently started sizing the paper for these prints with gum or gelatin.
For the above print, I sized the paper with gelatin.
Lens - Voigtlander Portrait Euryscope, Series II, No 7 at f4
Film - Kodak green Xray film developed with Rodinal in Jobo
This is a pure palladium print with a drop of 5% ammonium dichromate for contrast.
hendrik faure
14-Mar-2015, 12:26
One issue with the metal-based processes (pd/pt, cyanotypes, kallitypes etc) is that the image sinks into the paper.
This affects the clarity of the image.
In an effort to alleviate this, I have recently started sizing the paper for these prints with gum or gelatin.
For the above print, I sized the paper with gelatin.
Nanadadzie, what paper did you use?
I tried Sekishu for photogravure - expensive, but gives good tonal separation. Gamblin black bone ink.
http://i1322.photobucket.com/albums/u568/hfa8/two%20models_zps1zg7slmp.jpg
hendrik
Hendrik, another nice photogravure. For my last print, I sized Fabriano Artistico paper. I use Gampi #20 and Echizen gampi for photopolymer work.
Emil Schildt
15-Mar-2015, 14:37
another Bromoil from an old Type 55 film. Just some tulips..
cjbroadbent
15-Mar-2015, 16:22
another Bromoil from an old Type 55 film. Just some tulips..
Superlative!
cjbroadbent
15-Mar-2015, 16:30
"On it's side" - a palladium print
http://nanadadzie.com/darkroom/pix/OnItsSide.jpg
One issue with the metal-based processes (pd/pt, cyanotypes, kallitypes etc) is that the image sinks into the paper.
This affects the clarity of the image.
In an effort to alleviate this, I have recently started sizing the paper for these prints with gum or gelatin.
For the above print, I sized the paper with gelatin.
Lens - Voigtlander Portrait Euryscope, Series II, No 7 at f4
Film - Kodak green Xray film developed with Rodinal in Jobo
This is a pure palladium print with a drop of 5% ammonium dichromate for contrast.
This is a wonderful image.
A way round the sizing problem is to cheat and use a cotton digital print paper - there seems to just the right amount of sizing.
Hi CJ! Long time! Hope all is well. Thanks for the kind words. Please recommend a cotton digital print paper.
hendrik faure
19-Mar-2015, 15:57
Hendrik, another nice photogravure.
Nana Dadzie, thank you!
for my part, I delivered the picture shown on page 12 of Still-Life Images, 2015 thread.
But then publisher stated that they never accept b&w pictures. So I inked the plate a la poupée:
http://i1322.photobucket.com/albums/u568/hfa8/das%20bunt_zpsteulolya.jpg
a way to avoid Adobe Photoshop CC;
but better than monochrome??? (critics welcome as always)
hendrik
Hendrik, I prefer the monochrome version but that is just me. You did a good job inking it a la poupee though!
Emil Schildt
20-Mar-2015, 12:46
Four young people has been at my place for making a 3-5 min film about me - painting with light - darkroom and Bromoil printing.... My GOD it took a loooong time...
In the end they recorded the entire inking at the image I had made in this film...
As impossible as the scanning was, I still like the result... Eniola was kind and patient enough to pose for this portrait..
Multicolored Bromoil (pol 665 - painted with light)
Andrew O'Neill
20-Mar-2015, 13:18
I can only think of one word. Beautiful! Now how about the video. Do we get to see it?
Emil Schildt
20-Mar-2015, 15:31
I can only think of one word. Beautiful! Now how about the video. Do we get to see it?
yes - they send it to me when finished, and then I'll let you see too - curious to see how it turns out...
Four young people has been at my place for making a 3-5 min film about me - painting with light - darkroom and Bromoil printing.... My GOD it took a loooong time...
In the end they recorded the entire inking at the image I had made in this film...
As impossible as the scanning was, I still like the result... Eniola was kind and patient enough to pose for this portrait..
Multicolored Bromoil (pol 665 - painted with light)
Emil, that is gorgeous.
4x5 TMX contact print, ferric ammonium oxalate cyanotype. Schneider 75/8. TMX is a b*tch to contact print due to its UV blocking base, so printing times are quite long: I think this was 9 minutes at a distance of about an inch with a 50W face tanner unit. Other negatives (both printed and real ones) take about 2-3 minutes at a distance of 8 inches, so the difference is quite a few stops.
http://www.koraks.nl/galleries/prints/Cyanotype%20woods%20TMX4x5.jpg
Ramiro Elena
26-Mar-2015, 03:50
Beautiful tone and gradation. I need to try that formula!
Colin Graham
26-Mar-2015, 09:25
4x5 TMX contact print, ferric ammonium oxalate cyanotype. Schneider 75/8. TMX is a b*tch to contact print due to its UV blocking base, so printing times are quite long: I think this was 9 minutes at a distance of about an inch with a 50W face tanner unit. Other negatives (both printed and real ones) take about 2-3 minutes at a distance of 8 inches, so the difference is quite a few stops.
Are you using Mike Ware's formula (http://www.mikeware.co.uk/mikeware/New_Cyanotype_Process.html)? I used to get quite a speed bump by diluting Ware's with 40% citric acid. It's mainly intended to help the solution work on a broader range of 'impure' papers, but it also helped me cut exposures quite a bit as well on Fabriano EW, Arches, and BFK Rives. At high dilutions such as 1:1 it does result in a color shift from that rich prussian blue to a traditional cyan, or at least it did for me on these papers.
Yes, I am, that's to say: I only add the dichromate when mixing the sensitizer, currently one drop of 2% per ml of sensitizer. I also add 40% citric acid, but also a single drop per ml. I'll try increasing the amount of citric acid and see what happens. Btw, the mixture as it is now already prints 2 to 3 times as fast as traditional cyanotype with a much longer tonal scale. But I'm not quite happy yet with the dmax.
Colin Graham
26-Mar-2015, 09:50
I mostly used Ware's for tri-color and cyan-palladium processes, so the softer contrast and the traditional cyan hue were useful for that. At high citric acid levels the Ware's does lose some of its richness.
4x5 TMX contact print, ferric ammonium oxalate cyanotype. Schneider 75/8. TMX is a b*tch to contact print due to its UV blocking base, so printing times are quite long: I think this was 9 minutes at a distance of about an inch with a 50W face tanner unit. Other negatives (both printed and real ones) take about 2-3 minutes at a distance of 8 inches, so the difference is quite a few stops.
The long exposure probably helps with the tonality -- the printing-out image has time to form and do its self-masking thing. Also, the exposure times do not change much by moving the light closer...the inverse square law does not apply as strongly at short distances with diffuse light sources and lights in reflectors.
I'm going to do some more experimenting today; I'm not wrote sure how the levels of dichromate and citric acid work in practice, so I'll have to figure it out so I can adjust the process to match different negatives - insofar that's possible.
Vaughn, you're right; it isn't exactly a square relationship. However, distance is a parameter I use all the time to vary exposure (in addition to time obviously). So far, this has allowed me to fit all exposures for the processes I use in a 2 to 10 minute frame, which is quite convenient!
Bromoil from contact print 8x10 - David Lewis paper. My daughter as Isaac Newton in a GB Shaw play.
131449
Monty McCutchen
27-Mar-2015, 07:07
Will that is very nice. What a great process to add to the memory of your daughters experience and role in the play. Really well done
Monty
Colin Graham
27-Mar-2015, 08:21
I'm going to do some more experimenting today; I'm not wrote sure how the levels of dichromate and citric acid work in practice, so I'll have to figure it out so I can adjust the process to match different negatives - insofar that's possible.
Dichromate increases print contrast, citric acid decreases it.
Supposedly, with adjustments, Ware's can handle a negative DR of up to 2.6- but I'm just quoting from the link provided earlier.
@Will: I agree with Monty: well done in every respect!
Colin, that's exactly as how I understand it. But I'll need to experiment to get a feel for what's what. I don't have a densitometer, so I can only rely on visual inspection and experimentation. I just tried some prints with only a drop of 40% citric acid and no dichromate added to the mix and they came out quite bland. Dmax is lacking and contrast is low. I'm currently drying a few papers with the opposite mix: 3 drops of 2% dichromate per ml of solution (went overboard a bit!) and no citric acid. Let's see how it works out.
Bromoil from contact print 8x10 - David Lewis paper. My daughter as Isaac Newton in a GB Shaw play.
131449
Really suits the theme. Nice print. What ink did you use?
Cyanotype, ferric ammonium oxalate, one drop 40% citric acid per ml sensitizer, no dichromate. This is the best print I got from this batch and it is quite flat and dmax isn't half as good as the digital version suggests.
http://www.koraks.nl/galleries/prints/Cyanotype%20noCr%20plant.jpg
Schneider 210/5.6 on TMX
Emil Schildt
27-Mar-2015, 11:48
Bromoil from contact print 8x10 - David Lewis paper. My daughter as Isaac Newton in a GB Shaw play.
that is a VERY nice one!! I like the mood a lot! (not familiar with the paper..)
I made one today..
"Nigeria".. Bromoil Print.
You have the best models Mr. Gandolfi! I'm using Lithographic Senefelder's Crayon Black No. 1803. I got an awesome large brush for doing chalk painting recently and it works very nicely. Thanks for all of the compliments! My daughter really likes it too, which is always gratifying.
hand colored ( using PS ) retina image ...
retina image ?
long exposed paper in a camera ...
this is 11x14 paper, old brass lens and camera, 2 hour exposure
scanned, and inverted and hand colored ...
https://flic.kr/p/s5nrj4
Finally made a Van Dyke that I'm pretty happy with.
Here's a digital image of the print. Made with an in-camera 8x10 negative:
http://www.oceanstarproductions.com/photosharing/DSC_9601ess.jpg
Ramiro Elena
12-Apr-2015, 02:20
I am glad you shared this Bryan as I just mixed some Van Dyke potion. First time I tried it was 25 years ago in college.
The fact is, I don't remember parts of the process like the fixing... I seem to remember we just rinsed the print in water but it was too long ago... The first couple of minutes in the hypo the print gains density, darker shadows. Then it starts bleaching it irregularly?
The other thing I don't remember is coating problems but that could be I used a very wide hake brush.
What are your impressions?
132247
Here's instructions for the Bostick & Sullivan kit I am using:
http://www.bostick-sullivan.com/articles/vandyke.pdf
It uses Sodium Thiosulfate for fixer. I've never seen cross-hatched patterns like that. I used a camel-hair brush for coating.
This is the only kit I've used. I actually just leech some materials from the advanced photography courses at the college here since they never use them all. Especially this year with very few students in the course.
Really good density on that coating, Corran! What recipe did you use, and specifically, how much tartaric acid? Was this single coated? I can't get anywhere near that kind of density in a single coat and only just with a double layer.
Great image as well, of course. This is untoned, judging by the color?
Ramiro, I usually fix them for 2-3 minutes in a 5% thio solution. Fixing for longer than 4 minutes results in bleaching. And could it be that the brush you used was not saturated enough? I use a foam brush btw; I ran into problems with uneven coating with a regular brush.
Thanks koraks.
I believe this was just from a kit from B&S:
http://www.bostick-sullivan.com/cart/product.php?productid=514&cat=52&page=1
Sorry I can't be of more help. I don't mix/compound anything myself at the moment.
This was single coated though, not double. Not toned. I really pushed the exposure to cut through some base fog on my film. If it helps, I exposed it to 3000 units on a NuArc (whatever that means).
Ramiro Elena
12-Apr-2015, 11:05
Ramiro, I usually fix them for 2-3 minutes in a 5% thio solution. Fixing for longer than 4 minutes results in bleaching. And could it be that the brush you used was not saturated enough? I use a foam brush btw; I ran into problems with uneven coating with a regular brush.
Thanks koraks, that could be it. I fixed for 6 minutes in 10% sodium thiosulfate. Yes, I am pretty convinced my brush wasn't saturated enough. Will try again this week.
I got the impression double coating didn't work as nicely as in Cyanotype. I think it made my highlights murky and didn't see any benefit in the shadows.
Ramiro Elena
13-Apr-2015, 11:01
I am on a roll! Can't seem to get enough of fucking up. This time I did the unthinkable, fuck up a Cyanotype!
This is Mike Ware's new cyanotype formula which gives a wider tonal range and better detail. Now for some unknown reason the highlights turn to brown in the water rinse...
https://farm8.staticflickr.com/7633/16949402050_dc911774c6_c.jpg (https://flic.kr/p/rPL7HQ)
img409 (https://flic.kr/p/rPL7HQ) by rabato (https://www.flickr.com/people/71073452@N00/), on Flickr
Ah, that looks familiar! I get that result with the Ware formula as well (it's much more sensitive to mishaps than the original! ) under the following circumstances:
* initial wash water slightly alkaline; I use a 10% citric or acidic acid first wash
* alkaline paper base; use a different paper or pre-wash the paper in an acidic solution (and let dry) before coating
* insufficient oxalate; follow the instructions of Dr Ware carefully and pay attention to the ratios in the sensitizer
I also tried controlling contrast with dichromate and that ended up in weird prints as well, but the above seems like the result of one of the issues pointed out above. I think it's either the wrong sensitizer formula or the first wash.
Btw, on the acid used in the first wash: yes, I really meant 10%! It seems to help with the contrast of the print. Maybe as little as 5% could work, but contrast will drop slightly. Also, with citric acid, the tone shifts a bit towards purple as if the image is bleached (but with full density and contrast). With acetic acid (disregard the confusing typo above), I get a cooler tone that leans towards green/yellow.
Ramiro Elena
13-Apr-2015, 11:46
Funny you'd say that...
I instantly started thinking what I did different from the first batch which came out fine: The developer. In order to get more contrast I decided to rinse in plain water. The moment I added some ascetic acid the tone went down but still remained a little.
This time, all I had left was Scholler paper which I like because of its super fine grain. I'll try something different tomorrow.
The oxalate I believe was fine. One mistake I made was with the dichromate. I added 2 grams instead of 1. I wonder what the consequence of that could be since I find my prints a bit flat (compared to the traditional super contrast formula). Although more dichromate should mean more contrast if I am not mistaken...
I get very flat prints with dichromate as well; whatever it does to the contrast, it also reduces dmax as far as I could tell by my testing (which is all but scientifically sound), so after a couple of dozen test prints with various levels of dichromate and citric acid added to the sensitizer, I gave up on the dichromate and settled on just one drop of 40% citric acid per ml of sensitizer, which suits the contrast of most of my TMAX100 negatives quite well.
As to adding acetic acid: how much did you add, i.e. what is the acid concentration in your first wash? Also, I tried adding acid to the first wash after the print had already gone in, but by then, the damage is already done. The print must hit acidic water right away.
I have no experience with the paper you mentioned, but it is definitely true in my experience what Mike Ware says about his new cyanotype process: it's *very* picky in terms of paper. And all other factors. It yields beautiful prints if all goes well, but it's about as iffy as carbon printing - just a whole lot faster, which allows for a steeper learning curve. I have considered going back to the original formulation a few times, and I probably will at times, if not for the huge negative contrast that the New Cyanotype process can deal with. There's no way I could print my silver negatives with the traditional sensitizer. I proofed a couple of 4x5's today with the new formula since it's almost as quick as scanning them for proofing, just more fun. And it allows to see detail in both highlights and deep shadows almost as well as a good scan.
Ramiro Elena
13-Apr-2015, 12:35
I don't add citric acid to the sensitizer and I thought the dichromate was mandatory for Mike's formula. I would have to make a fresh batch and I don't have the chemicals with me right now...
My acetic acid bath is totally moronic, I mix a a cup, or half a cup of Tetenal stop bath in maybe 1 liter of tap water (ph7). I will try citric acid tomorrow.
I am leaning towards the paper choice as the main problem. I salvaged a couple Fabriano 50% cotton sheets from my father's place. The coating feels much more natural.
I am glad you pointed me to the possible causes. I was starting to get quite pissed off at my recent alt processing. Thanks!!!
@koraks and @Ramiro A quick tip about acidicing your paper. On apug is a thread to use Sulfamic Acid to get rid of the calcium stuff as acid buffer in the paper. Especially for the new cyanotype. Also Dr. Mike Ware mentioned it. I use it now for my kallitype prints. And it works like a charm.
Here is the url: http://www.apug.org/forums/showthread.php?t=118153
Hello everyone, my first experiments with Vandyke.
cavolfiore romano
8x10, Bergger cot 320
https://farm8.staticflickr.com/7654/16951979869_889a05e6c9_b.jpg (https://flic.kr/p/rPZk1Z)cavolfiore romano (https://flic.kr/p/rPZk1Z) by tonel8 (https://www.flickr.com/people/21503525@N03/), on Flickr
4x10, Bergger cot 320
carciofo / artichoke
https://farm8.staticflickr.com/7690/17138082325_c0a434c3f8_b.jpg (https://flic.kr/p/s7r9N2)carciofo / artichoke (https://flic.kr/p/s7r9N2) by tonel8 (https://www.flickr.com/people/21503525@N03/), on Flickr
particular columns Canova Temple
8x10, Bergger cot 320
https://farm9.staticflickr.com/8605/15790852981_39da6694ee_b.jpg (https://flic.kr/p/q4ofrT)colonne tempio Canova VanDyke print (https://flic.kr/p/q4ofrT) by tonel8 (https://www.flickr.com/people/21503525@N03/), on Flickr
Your first experiments are better than what I have to show for weeks of printmaking! Impressive!
What did you tone these with? The blacks are really neutral!
thanks koraks,
roman cauliflower and artichoke I used a black cardboard for background;
I have prepared the paper with two coats of solution.
I double coat as well, but I don't seem to get the same density that you have there, you're doing something very right ;) do you soak the paper in acid before coating?
Hi all,
Here a (gold-toned) kallitype. Paper very cheap paper schut terschelling 300grm hotpressed. (a Dutch paper mill) prepped with a sulfamine acid bath.
132353
Greetz, Ron.
Nicely done! I use Schut paper as well, I find it's the best paper available here at my local shop. I use the brightly colored blocks of drawing paper. Quite affordable as well. I looked at the Terschelling paper as well, but it's an aquarel paper and I found its texture too coarse for my smallish prints (usually 4x5" contacts to about 5x7" digital negatives, occasionally 8x10"). I usually print on the backside of the paper, which has a bit less pronounced texture still. I get the best results with the heavier variant that comes with the pink cover sheet.
Yes. And the paper is one of the first (affordable) papers who did not left any staining after development. The Sulfamine acid made it only better Higher d-max.
I should try presoaking the paper in acid to see if I could boost the dmax of my VdB's a bit. Although I did a quick test last night with brush coating (which I had some trouble with in the past in terms of uneven sensitization) and the dmax seems quite nice.
Did you print this from a digital negative btw? It almost looks like it came from something smaller than 4x5 originally.
Ramiro Elena
14-Apr-2015, 06:44
@koraks and @Ramiro A quick tip about acidicing your paper. On apug is a thread to use Sulfamic Acid to get rid of the calcium stuff as acid buffer in the paper. Especially for the new cyanotype. Also Dr. Mike Ware mentioned it. I use it now for my kallitype prints. And it works like a charm.
That's one bitchin' thread ron! Lots of great info. I have to admit I didn't pay a lot of attention to Mike Ware's indications on paper when I first read it.
I made some quick tests this morning with paper I had at hand and citric acid developer. Thanks koraks for pointing me in the right direction. Still not getting the highlights I'd want but much better results. It is nice to work with heavier paper!
Fabriano 50% cotton.
https://farm8.staticflickr.com/7642/17120228206_185850a74d_c.jpg (https://flic.kr/p/s5RDoo)
img411 (https://flic.kr/p/s5RDoo) by rabato (https://www.flickr.com/people/71073452@N00/), on Flickr
Yes, almost all of my prints are from digital negatives I have a cambo4x5 but I use it to little. And 4x5 is also to small for my needs ☺
Terschelling is also in a hot pressed variant with a very smooth feel.
Ramiro, that looks like an improvement! As to the highlights : you are now finding out how contrasty negatives for new cyanotypes need to be ;)
Ron, I currently find myself moving upwards to 8x10 as well ;) I should try the smooth Terschelling, thanks for the suggestion!
"Outbuildings" - a gold-toned Kallitype
http://nanadadzie.com/darkroom/pix/Outbuildings.jpg
Shot at the Henry Clay Estate, Lexington, KY
On 8x10 Arista edu RC photo paper (as paper neg) with Fuji 210 mm f5.6 lens at f22, EcoPro developer
Printed on Arches platine paper
This is awesomely weird and wonderful
A bromoil of my daughter's second favorite toy, Arlo. This is my second bromoil so far. 130073
Thanks Wayne! I was in Sugar Camp, WI yesterday having dinner and they had a bromoil up on the wall of the original founder of the town. Kind of cool to see a vintage one like that.
Jim Fitzgerald
20-Apr-2015, 21:20
Here is a new on from a trip to Yosemite in February. A nice Black Oak shot with my Kodak Portrait lens at F-45. Carbon print.
Very nice Jim. I have to learn how to do that. I have everything I need except a lamp and spare time.
So last night was soaking this bromoil during inking and the CAT - that hideous creature with glowing eyes, sharp claws, and a yowl that would make Ted Geisel proud - leapt up on the table INTO THE TRAY!!!!
One hole punched in print. Not sure if you can tell on this iphone photo. All ruined. Oh well, it needs more exposure on the face. Hopefully the next one will be better.
Statue by Frank Lloyd Wright. Foma paper I'm trying out at 11x14.
132774
Jim Fitzgerald
21-Apr-2015, 13:55
Will, still it looks very nice! Cats can be wicked!
Pitcherman
21-Apr-2015, 17:08
Nana-I love it. Beautiful. How did you expose your kallitype and for how long?
Thanks Robert.
With my exposure unit, exposure time for kallitypes using film is about 2 min.
With paper negatives, I'm doing 8-10 min.
Nana
Nana-I love it. Beautiful. How did you expose your kallitype and for how long?
Emil Schildt
26-Apr-2015, 13:34
had some fun...
Liquid emulsion on heavy paper - then melted some in the background... Brown toned it....Cyanotype chemistry on top - lit and developed - re-bleached selected areas and finally handcoloured a Little using silk colours...
This reminds me a Little of Clint Eastwood.... so I'll call it:
"Do you feel Lucky?" :)
Tin Can
26-Apr-2015, 15:04
Yes!
Emil Schildt
4-May-2015, 06:58
went totally overboard...
This is a big version of the previously submitted image I made a few days ago...
This is BIG... 77x100cm in size. (30x39" ish)
Polaroid 665 film - liquid emulsion on 450g heavy paper - developing was a mess... ;)
the I added dead emulsion on the surroundings - developed and brown toned the lot.
Cyanotype chemistry then added on almost all the paper - then exposed and partially rinsed....
Bleaching away some of the cyanotype chemistry (the yellowish areas), and finally hand colouring small parts...
Hanging in my big Art Nouveau frame, bought in my beloved Prague....
the second image shows for size a 12x16 version I made the other day...
Very cool project, I love how you applied a mix of techniques! And the result is very convincing.
Emil Schildt
4-May-2015, 07:17
thanks - I am happy about it...
hendrik faure
5-May-2015, 14:10
http://i1322.photobucket.com/albums/u568/hfa8/survival%20oif%20the%20f_zps9fs6qvbv.jpg
copperplate photogravure
I showed the interpositive in the foma 100...
hendrik
Hendrik, are you starting a new series? BTW, great tones as always.
Nana
http://i1322.photobucket.com/albums/u568/hfa8/survival%20oif%20the%20f_zps9fs6qvbv.jpg
copperplate photogravure
I showed the interpositive in the foma 100...
hendrik
Very nice Hendrik.
Such depth of meaning and "language" is seldom seen.
hendrik faure
16-May-2015, 11:00
Hendrik.
...seldom seen.
thank you, Randy and Nana
http://i1322.photobucket.com/albums/u568/hfa8/bald%20ist%20pfingsten_zpsg9ztvv2j.jpg
copperplate photogravure - some kind of mixed media: Photogravure from 8x10 neg via digital interpositiv, result not satisfying, so grinded the plate partially, inked aà la poupée, printed on light japans paper, scanned colors enhanced.
photogravure has a continuous tone spectrum, so the original ca 3x4inch can be printed postersize
Nana, not a new serie, continued some years
hendrik
Emil Schildt
17-May-2015, 13:14
a VERY tired angel I think...
Painted with light
Bromoil Print
After struggling with the chemistry, I finally managed to print some
kallitypes. This one is untoned, on some unknown to me Japanese paper.
https://c2.staticflickr.com/6/5342/17707669530_4d68e42600_z.jpg (https://flic.kr/p/sYLre5)Mina d'en Negrín (https://flic.kr/p/sYLre5) by Pau Martín (https://www.flickr.com/photos/27566883@N06/), on Flickr
Ramiro Elena
20-May-2015, 06:08
Wow! Beautiful
hazardsg
21-May-2015, 17:57
Here is a cyanotype I just finished. Not the best composition. This is my first successful print from my first successful 8x10 negative. I'm having some trouble getting the highlights to print.
134163
"The Mansion" - a gold-toned Kallitype using 8x10 paper negative
http://www.nanadadzie.com/darkroom/pix/Ashland.jpg
Ongoing attempts to develop a workflow using paper negatives for kallitypes
Negative on Arista-Edu 8x10 glossy RC paper
Shen Hao FCL 810
Fuji 250 mm f5.7 lens at f22
Printed on Arches Platine paper
Here is a cyanotype I just finished. Not the best composition. This is my first successful print from my first successful 8x10 negative. I'm having some trouble getting the highlights to print.
134163
Are you coating your own paper? Just curious - I have been dabbling with already coated paper from bluesunprints.com and have gotten pretty good results - I have been reading up on mixing / coating my own cyanotype and Vandyke, which I have not tried yet but I really like the results I am getting from the pre-coated stuff.
From an 8X10 neg
https://dl.dropboxusercontent.com/u/52893762/img517a.jpg
hazardsg
23-May-2015, 08:45
I am coating my own paper. It may be that my exposure was too short. I'm currently building an uv exposure box. Once I'm done at least I'll have more control.
Are you using classic cyanotype or Mike Ware's formula? In case it's classic, keep in mind that the contrast of the negative needs to be pretty low. Any negative that will print well on grade #2 paper will be way too contrasty for classic cyanotype. You have to choose between getting decent highlights or decent shadows in that case; can't have both. The alternative is to switch to the New Cyanotype process of Dr. Ware, which requires very contrasty negatives (and prints much faster). It's also more sensitive to the paper used and any contaminants. In my experience, cyanotypes (classic or new) have no good means of contrast control, in the sense of accommodating for a range of negative contrasts (you can increase the dmax of the print by using a quite acidic first wash; the acid used subtly affects the tone of the print). Classic cyanotype is in my experience vastly more forgiving and robust and works very well with digitally printed negatives since they don't require so much contrast in the negative.
Craig Tuffin
25-May-2015, 05:28
Here's a quarter plate mercurial daguerreotype I made a couple of weeks ago. I made the leather case to house it last week.
Please excuse the poor iPhone photos of the d-type in the case.
134274
134275
134276
Are you using classic cyanotype or Mike Ware's formula? In case it's classic, keep in mind that the contrast of the negative needs to be pretty low. Any negative that will print well on grade #2 paper will be way too contrasty for classic cyanotype. You have to choose between getting decent highlights or decent shadows in that case; can't have both. The alternative is to switch to the New Cyanotype process of Dr. Ware, which requires very contrasty negatives (and prints much faster). It's also more sensitive to the paper used and any contaminants. In my experience, cyanotypes (classic or new) have no good means of contrast control, in the sense of accommodating for a range of negative contrasts (you can increase the dmax of the print by using a quite acidic first wash; the acid used subtly affects the tone of the print). Classic cyanotype is in my experience vastly more forgiving and robust and works very well with digitally printed negatives since they don't require so much contrast in the negative.
Craig, that is beautiful!
Craig Tuffin
26-May-2015, 01:56
Craig, that is beautiful!
Thank you Nana!
hendrik faure
26-May-2015, 03:53
"The Mansion" - a gold-toned Kallitype using 8x10 paper negative
http://www.nanadadzie.com/darkroom/pix/Ashland.jpg
Printed on Arches Platine paper
Nana, this is great!
just now reading Lovecraft novels
hendrik
Nana, this is great!
just now reading Lovecraft novels
hendrik
Thanks Hendrik!
Łukasz Owsianka
26-May-2015, 15:37
Hi,
134344
9x12cm Gum bichromate (Zeiss Ikon Maximar 207/7)
I am going back to gum, picture is not technically perfect but what do you think about this technique?
Hi,
134344
9x12cm Gum bichromate (Zeiss Ikon Maximar 207/7)
I am going back to gum, picture is not technically perfect but what do you think about this technique?
Getting a perfect gum print is not easy. Personally, i think the imperfections of a gum print make it unique. Sort of like it's signature.
Nice image though.
What paper is the image on?
Did you size it?
How many layers?
Łukasz Owsianka
27-May-2015, 00:44
The paper has a visible structure. Its made of hemp fibers. Paper is not good because gum stick to his surface (I do not use gelatin before the gum layer). The only advantage is that it is very bright white.
No, I do not use any gelatin coating or any other.
It is only one layer - twice coated with gum and pigment before exposing to light.
Print is made directly from the film negative (contact print).
Gum printing as a technique is not easy but allows artistic self-expression, I think. Keep at it. BTW, the paper looks interesting and for a one layer image, it shows good detail.
Arches Platine and New Cyanotype chemistry
1961 Corvette at Owls Head Transportation Museum car show. May 30 2015. Owls Head Maine. 9" Gundlach Hyperion soft focus lens, 4x5 speed graphic, Ilford fp4+ film in pyrocat hd
https://c1.staticflickr.com/1/279/18343641705_387d38fcb4_z.jpg (https://flic.kr/p/tWXXAz)img129 (https://flic.kr/p/tWXXAz) by Jason Philbrook (https://www.flickr.com/photos/13759696@N02/), on Flickr
Nice one, jp! It's almost a human portrait!
I've been running into a lot of issues with new cyanotype lately; it's extremely cumbersome in comparison with classic cyanotype. Currently I have severe fogging issues unless I use a very acidic first wash, which consequently bleaches out almost the entire image during drying. It's ability to deal with contrasty negatives is appealing, but the process is a total b*tch in all other respects.
It's only my 3rd print with the new chemistry. I add a drop of citric acid and a drop of tween 20 before coating the paper and rinse in plain water and they were good. The next print after this would not develop/rinse; stayed pretty close to how it came out of the contact frame, and it was coated/dried/exposed simultaneously with this print. Nothing wrong with traditional cyanotype chemicals, except they print slow on heavy duty paper like this.
JP, nice image! True, almost looks like a face!
I still use the old cyanotype chemistry and am satisfied with my results. That is probably more a function of my low standards than anything else[emoji6]. I also bleach and tone my cyanotypes or use them for gum overs.
I'll run a test with classic cyanotype again, but when I started out with blueprinting, I found I needed very low contrast negatives, while I generally produce very high contrast ones today, as I want to use them for Van Dyke brown and carbon transfer as well.
Btw, I generally add one drop of 40% citric acid per ml of sensitizer; I've tried up to 3 drops, but I get weaker and weaker prints as I increase the amount of citric acid in the sensitizer. I might try a first rinse in 5% acetic acid. Tap water is too alkaline where I live; I always get a yellow-green stain when I don't acidify it a bit. With citric acid, I get prints with good density, clear highlights (perhaps too clear...) and a very pleasing tone, but the contrast is through the roof at that point, I also need to overprint heavily which blocks up the shadows. I may give adding dichromate another try, but previously I never got any good results with that. Staining, low contrast.
I do platinum/palladium printing and carbon printing -- requiring negatives of different density ranges. I print pt/pd with no contrast agent (such as Na2, potassium dichromate or potassium chlorate), and need even higher contrast negatives for way I make carbon prints.
I find it easier and more productive to determine what process an image will be printing in, before I expose and develop the film. If I want to do it in both processes, than I make two negatives.
I do it this way to hit the 'sweet spot' for each process -- rather than try to tweak a process to its maximum to try to print a marginal negative. I feel that print quality can suffer when a process is pushed too far to match an unsuitable negative.
Edited to add: Also, since many times tweaking the process changes the way the print looks (color, etc), it is easier to match print characteristics for a consistent presentation, if that is an issue, if one's negatives are close in density range and over-all density.
Emil Schildt
17-Jun-2015, 13:35
Bromoil Portraits on a Little video...
https://www.youtube.com/watch?v=DFiTfiLzlUU&feature=youtu.be
Bromoil Portraits on a Little video...
https://www.youtube.com/watch?v=DFiTfiLzlUU&feature=youtu.be
Simply wonderful
Emil Schildt
17-Jun-2015, 17:08
thanks
Oil print...
https://lh3.googleusercontent.com/-R02qP5SgYOs/VYJapw5wJXI/AAAAAAAADc4/LQVaotHBstg/w559-h781-no/001_20150615_121915.jpg
https://lh5.googleusercontent.com/XS8MWPSlsAYllcmTA47gymQXlaDR9jTRcECRsq63xIU=w593-h782-no
Oil print...
https://lh3.googleusercontent.com/-R02qP5SgYOs/VYJapw5wJXI/AAAAAAAADc4/LQVaotHBstg/w559-h781-no/001_20150615_121915.jpg
https://lh5.googleusercontent.com/XS8MWPSlsAYllcmTA47gymQXlaDR9jTRcECRsq63xIU=w593-h782-no
Nice!
What paper did you print this on?
What ink?
Looks like you used both a brush and a brayer.
Well done!
Łukasz Owsianka
18-Jun-2015, 04:52
Hi,
I was experimenting with gum mixtures, papers etc.. Finally I came up with this:
135632
one layer bichromate gum
Hi,
I was experimenting with gum mixtures, papers etc.. Finally I came up with this:
135632
one layer bichromate gum
Gum! The quintessential pictorial technique! Love the way the right side vanishes. Try a second layer!
Łukasz Owsianka
18-Jun-2015, 12:42
Gum! The quintessential pictorial technique! Love the way the right side vanishes. Try a second layer!
Second layer will destroy highlights and darker places. I love the brush strokes!
I agree. There's just something "abstracty" about a single layer gum print. Well done! What paper?
Łukasz Owsianka
18-Jun-2015, 13:36
I agree. There's just something "abstracty" about a single layer gum print. Well done! What paper?
Paper is coated with baryta by me.
Cool! Never tried coating with baryta
ndg - Thank you!
I used plain paper for painting in water-colours.
Paint for offset printing.
Process classical, look here -
http://www.picto.info/oildoc/Oil_RS.pd
ndg - Thank you!
I used plain paper for painting in water-colours.
Paint for offset printing.
Process classical, look here -
http://www.picto.info/oildoc/Oil_RS.pd
The link is missing the "f" at the end of ".pdf".
Yea, I've read that tutorial.
So you sized the paper yourself?
I use fixed-out Foma paper. My results from using paper i sized myself were not satisfactory.
sanking
19-Jun-2015, 08:27
The link is missing the "f" at the end of ".pdf".
Yea, I've read that tutorial.
So you sized the paper yourself?
I use fixed-out Foma paper. My results from using paper i sized myself were not satisfactory.
Sizing your own papers sure adds another layer of difficulty to carbon printing. I find it more challenging to get a good size on art paper than to make carbon tissue!
Sandy
So true Sandy. I wish a manufacturer could put out sized watercolor paper. Might be a niche product so it could be handled yearly in runs like Ilford does it with film.
RPippin
20-Jun-2015, 19:14
135785Need some help here. This is our first attempt at a Kallitype print and we are seeing some bronzing in the shadows. My suspicion is the Ferric Oxalate. After looking a bit deeper it seems the formula for Kallitype is for a 20% mix, and we used Ferric Oxalate mixed for the NA2 P/P process. This was using a 5X7 negative and 15 drops of each, FE and Silver Nitrate 10% solution. Am I correct, or is there another culprit? Keep in mind this is our first try at this. By the by, this was shot with a brass barrel rapid rectilinear lens wide open, hence the blur and movement of the musicians.
135785Need some help here. This is our first attempt at a Kallitype print and we are seeing some bronzing in the shadows. My suspicion is the Ferric Oxalate. After looking a bit deeper it seems the formula for Kallitype is for a 20% mix, and we used Ferric Oxalate mixed for the NA2 P/P process. This was using a 5X7 negative and 15 drops of each, FE and Silver Nitrate 10% solution. Am I correct, or is there another culprit? Keep in mind this is our first try at this. By the by, this was shot with a brass barrel rapid rectilinear lens wide open, hence the blur and movement of the musicians.
Are you sure that the emulsion was completely dry before exposure? I'd say that it was not.
If ferric oxalate was the culprit, I think that the highlights would be fogged.
My suggestion is that you try again and wait till the emulsion is completely dry. You can use
a hairdrier, with the cold setting, to be sure.
Best,
Pau
RPippin
21-Jun-2015, 07:05
Thanks Pau, I'm sure your right, since I was treating this like I might a P/P print and was not that concerned about complete dryness, as I would want a bit of humidity still in the paper. Next run will be done after completely drying the paper after coating.
Łukasz Owsianka
22-Jun-2015, 09:07
Hi,
Which image do you prefer and why? I cannot decide which is better.
135837 135838
both are single layer gums
Hi,
Which image do you prefer and why? I cannot decide which is better.
135837 135838
both are single layer gums
The second one - though less contrasty, it appears cleaner. The first one has lines all over it.
hazardsg
22-Jun-2015, 20:43
https://c1.staticflickr.com/1/379/18451025473_d6cd6b1700_b.jpg
Tea toned Cyanotype
8x10 Ektascan shot at 80 ISO developed in Pyrocat HD for 9:30
Kodak Model B 8x10
Wollensak Velostigmat Series I Triple Convertible 12" f/6.8 @f32
Frank_E
24-Jun-2015, 19:23
finally created my first alternative process print
from a 4x5 negative
Cyanotype on Canson Aquarelle watercolor paper
Excellent result Frank! Was this the old or the new cyanotype recipe?
when i look at the tonal scale i think iets the new one.
Frank_E
25-Jun-2015, 17:17
Thanks Korak, it was the new Ware formula. I made life easy for myself and purchased the Photographers Formulary kit. Some of my reading told me that I might expect a challenge from the choice of paper, so I figured since I had enough chemistry to experiment with, just "go cheap" to start out and I purchased a pad of Canson Aquarelle (9x12) which was on sale at our local art supply store. Everything worked out well for my first try.
sanking
25-Jun-2015, 17:24
finally created my first alternative process print
from a 4x5 negative
Cyanotype on Canson Aquarelle watercolor paper
Hi Frank,
That is a very nice looking print. Your Dmax looks great!!
Are you on Gabriola permanently now?
Sandy
Frank, thanks for your explanation; yes, I suspected it was the new formula. Did you use it pure or did you add any citric acid or dichromate?
Gold toned kallitype on japanese paper. Cropped from a 8x10 negative.
https://c4.staticflickr.com/4/3919/19173038135_6378bc57ac_o.jpg (https://flic.kr/p/vdfQg2)Rosa (https://flic.kr/p/vdfQg2) by Pau Martín (https://www.flickr.com/photos/27566883@N06/), on Flickr
Gold toned kallitype on japanese paper. Cropped from a 8x10 negative.
https://c4.staticflickr.com/4/3919/19173038135_6378bc57ac_o.jpg (https://flic.kr/p/vdfQg2)Rosa (https://flic.kr/p/vdfQg2) by Pau Martín (https://www.flickr.com/photos/27566883@N06/), on Flickr
Very nice! Very well done! Is it on Kozo or Gampi paper?
Very nice! Very well done! Is it on Kozo or Gampi paper?
Thanks, Nana. It's Gampi paper. It is a wonderful material. Difficult to work with, though.
Best,
Pau
Tell me about it! You nailed it though!
finally created my first alternative process print
from a 4x5 negative
Cyanotype on Canson Aquarelle watercolor paper
Frank, I like your cyanotype. My entire experience with them is from purchasing pre coated paper from bluesunprints dot com.
From and 8X10 neg on X-ray film:
https://dl.dropboxusercontent.com/u/52893762/img543a.jpg
I really want to give coating my own a try.
Frank_E
26-Jun-2015, 18:32
Hi Frank,
That is a very nice looking print. Your Dmax looks great!!
Are you on Gabriola permanently now?
Sandy
Thanks Sandy, I spend 60% of my time on Gabriola now
but I am giving my darkroom a good workout
and as you see am also exercising my UV Plate Burner
tomorrow I head to Condon Montana to spend a week with Kerik Kouklis learning
more about digital negatives and platinum printing
some files from your IR converted GF1 will be part of the images I hope to print
Frank_E
26-Jun-2015, 18:34
Frank, thanks for your explanation; yes, I suspected it was the new formula. Did you use it pure or did you add any citric acid or dichromate?
yes I added several drops of citric acid
hendrik faure
27-Jun-2015, 05:51
https://c1.staticflickr.com/1/379/18451025473_d6cd6b1700_b.jpg
Tea toned Cyanotype
nice!
RPippin
13-Jul-2015, 14:33
136813136814136815136816Some Kallitypes from 8X10 negatives, scanned on an Epson V750 Pro. This is an early attempt at Kallitype, after doing most of these with Platinum/Palladium. I'm surprised (pleasantly) with the cool black tones on some as well as the warm tones for the three Mennonite girls. All of these have been treated with a Selenium bath for archival purposes.
136813136814136815136816Some Kallitypes from 8X10 negatives, scanned on an Epson V750 Pro. This is an early attempt at Kallitype, after doing most of these with Platinum/Palladium. I'm surprised (pleasantly) with the cool black tones on some as well as the warm tones for the three Mennonite girls. All of these have been treated with a Selenium bath for archival purposes.
The prints are very well-made! My fav is the one of the girls. Well done! What paper did you use?
Absolutely gorgeous! I'm frustrated at ferric oxalate being so insanely pricey and difficult to get here in Europe. I would have loved to do some kallitype.
RPippin
14-Jul-2015, 11:43
Thanks nag, the paper was arches platien. The girls are great, I shot 4 sheets of 8X10 and they all came out wonderful. Thinking of doing a triptych with three shots of them. It would make a great narrative. Koraks, sorry about the high price of ferric oxalate, it isn't that cheap here either. When I spoke with Dana at B&S he concurred with me that the shelf life of the ferric oxalate made with their powder has a long shelf life. Believe it or not, the batch I used was mixed in December of this year and jus sat on a shelf without refrigeration and is still good. It does have a bit of EDTA added to it.
stradibarrius
15-Jul-2015, 15:11
Very interesting! I like it a lot. Is it possible for you to give a few details???
Oil print...
https://lh3.googleusercontent.com/-R02qP5SgYOs/VYJapw5wJXI/AAAAAAAADc4/LQVaotHBstg/w559-h781-no/001_20150615_121915.jpg
https://lh5.googleusercontent.com/XS8MWPSlsAYllcmTA47gymQXlaDR9jTRcECRsq63xIU=w593-h782-no
My first attempts at coating my own traditional cyanotypes - I am happy with my initial results, though I have learned quickly that lower contrast scenes/negs will probably work best. All from 4X5 negs.
https://dl.dropboxusercontent.com/u/52893762/img597.jpg
https://dl.dropboxusercontent.com/u/52893762/img598.jpg
https://dl.dropboxusercontent.com/u/52893762/img599.jpg
Am going to coat some for 8X10 negs now.
Very nice results randy!
And yes, you want low contrast negs for classic cyanotype. With new cyanotype, you can print just about any negative using dichromate for contrast control.
Pamelageewhizz
17-Jul-2015, 05:55
Are you talking about sizing or gelatin/hardening? With sizing all you have to do is let it soak in really hot water for about 30min, shuffling the sheets. Then of course hanging to dry.
Going to give a try at carbon before long. I've got the carbon paper, but have been doing albuem as of late. Very fun.
I did some 8X10 negs between clouds yesterday. Coated 5 sheets with classic cyanotype but only 3 came out as I wanted.
To big for my scanner and white balance on camera is off - sorry about the yellow cast to the paper - it is actually white.
I am really enjoying this...
https://dl.dropboxusercontent.com/u/52893762/ctp1.jpg
https://dl.dropboxusercontent.com/u/52893762/ctp2.jpg
https://dl.dropboxusercontent.com/u/52893762/ctp3.jpg
Emil Schildt
18-Jul-2015, 08:30
Two Bromoil Prints - Negative painted with light - then solarized...
"The Bell" - an Rawlins Oil Print
http://nanadadzie.com/darkroom/pix/Bell1420.jpg
As I get the hang of the Oil print process, I thought I would try printing one of my 14x20 Xray negatives.
The initial inking was done with a hog-hair brush. The rest of the print was finished with brayers.
The paper is fixed-out Foma Fomatone matte chamois paper
I used Graphic Chemical black ink that I thinned out.
djdister
21-Jul-2015, 14:53
"Blues from an Airplane"
http://my.net-link.net/BA/D5/jsmigiel/images/blues.jpg
cyanotype
Well I'd call that a beautiful abstract photograph.
I did some 8X10 negs between clouds yesterday. Coated 5 sheets with classic cyanotype but only 3 came out as I wanted.
To big for my scanner and white balance on camera is off - sorry about the yellow cast to the paper - it is actually white.
I am really enjoying this...
https://dl.dropboxusercontent.com/u/52893762/ctp1.jpg
https://dl.dropboxusercontent.com/u/52893762/ctp2.jpg
https://dl.dropboxusercontent.com/u/52893762/ctp3.jpg
Looking good! If you get some that are a tad dark, try out the bleaching and tea-toning options. That's fun to change the color or have dual-colors from toning.
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