post alternative techniques

[Paul Metcalf]

This is my favorite thread because I know the images shown are scans of prints, not just reversed scans of negatives (wish I could say the same thing for the landscape thread). We replaced our scanner/printer a little while ago, and this new one is really bad for scanning prints. The older printer/scanner wasn't too bad, especially for things like salted and vandykes.

[bob carnie]

Images courtesy Monica Glitz

These images and more will be showing at The Crane House Museum in Louisville Ky , Sept October.
137308137310137312

These are tri colour gum over palladium.

[ndg]

Bob, these are beautiful. Should remember to drive down to see them. Congratulations to you all. Amazing! The registration is spot-on.

[bob carnie]

I should point out that they are hand held 35mm so there is some loss of detail IMO on the first big tree over door .

[ndg]

Don't worry! Digital capture never does alternative process prints justice anyway.

[ndg]

"The Woods" - a Gum Print
http://nanadadzie.com/darkroom/pix/TheWoods.jpg
Negative - 14"x20" green Xray film with Nikon 450 mm lens at f64, #8 yellow filter, Ritter 14x20 camera
Developed in Jobo with Rodinal at 1:100, 68 deg F
Printed on Fabriano Artisitico paper sized with gum.
Sennelier Ivory Black, 2 layers.

[Randy]

Two recent blue prints from 5X7 negs -

https://dl.dropboxusercontent.com/u/52893762/img613.jpg

https://dl.dropboxusercontent.com/u/52893762/img614.jpg

[David Schaller]

,
Two recent blue prints from 5X7 negs -

https://dl.dropboxusercontent.com/u/52893762/img613.jpg

https://dl.dropboxusercontent.com/u/52893762/img614.jpg

Beautiful Randy. You are singlehandedly pushing me back to cyanotype!

[Randy]

Thanks David - I just wish my intentions were not so transparent :)

I am really very new to this, so I am very suprised by my successes and am really loving this process, partly because it is my first attempts at an "alternative" process, and partly because it has been so long since I have made wet prints at all.

I had my friend Earl mail me one of his 5X7 negs so I could make a print for him - this is Mabry Mill along the Blue Ridge Parkway in Virginia, shot on X-ray film a couple months ago -

https://dl.dropboxusercontent.com/u/52893762/img615.jpg

It came out a bit dark so pulled it from the wash and into a tray with dilute Clorox Bleach - gave it a nice tint

[Andrew O'Neill]

Don't worry! Digital capture never does alternative process prints justice anyway.

Seriously? Never? :(

[ndg]

Seriously? Never? :(

Yea, especially carbon prints.[emoji6]

[Andrew O'Neill]

Yes, ESPECIALLY carbon prints! heh heh

[Vaughn]

Yes, ESPECIALLY carbon prints! heh heh

Yes, indeed...

[jp]

Made some contact prints in the darkroom this evening, both normal silver and cyanotypes. One print was halfway dry and I took it out to show my wife and let it dry in the kitchen. I came back around midnight and it had a fluorescent green spot on it! I just about lost my cool in exasperation. Fortunately that doesn't happen much. I figured out the problem and will post the cause in the afternoon. It's a good little story.

137805

Print with green spot:
137806

[Corran]

Love the print on the left jp!

[Randy]

Love the print on the right...

[jp]

Great start Randy! I keep my too-dark test prints when making exposure tests. They are great fun to bleach and tone. If the clorox is obnoxious, just get some washing soda powder.

So I had this nasty bright green spot on my fresh half dried cyanotype (pictured above) and I may have said some unkind words and come close to loosing my cool. I picked up the print to view the defect in different light and look what I saw...


137816

The phone lights a bright green led when it's done charging! It was done charging.

[georgelinkcon]

So many fine images in this forum.
But I miss a thread where we can post our images, made in one or more of the fascinating "alternative" techniques that are out there...

show us your Cyanotypes - Oil prints - Bromoils - Albumen's - Van Dyke's - Carbon prints - photo gravures or what you are currently working with.

Please let us know what technique used (Camera's - lenses are always fine too)...

C'mon: I dare you! :D

Nice idea, I'd really like to see
http://aaswall.tk/40/o.png

[koraks]

Great start Randy! I keep my too-dark test prints when making exposure tests. They are great fun to bleach and tone. If the clorox is obnoxious, just get some washing soda powder.

So I had this nasty bright green spot on my fresh half dried cyanotype (pictured above) and I may have said some unkind words and come close to loosing my cool. I picked up the print to view the defect in different light and look what I saw...


137816

The phone lights a bright green led when it's done charging! It was done charging.

Haha, I was wondering how you managed to get a bright green spot like that in a cyanotype, but that solves the mystery! Great print too!

[Emil Schildt]

a couple of new Bromoil Prints..

12x16"

[Emil Schildt]

As we wait for the quiet to hopefully end I'll show a couple of recent images.

Painted with light - negative ruined/killed/distressed - then made into Bromoil...

[Peter Lewin]

As we wait for the quiet to hopefully end I'll show a couple of recent images.

Painted with light - negative ruined/killed/distressed - then made into Bromoil...
Fascinating work! Am I the only one to immediately think of Mortensen?

[ndg]

Emil, you are one of the artist on this forum who knows their artistic voice (nudes), has found the right technique to express it (bromoils) and not only stays true to it but keep pushing the envelope. Great work as usual!

[jp]

Fascinating work! Am I the only one to immediately think of Mortensen?

No, Mortensen thinks of Emil.

[Emil Schildt]

No, Mortensen thinks of Emil.

:D

Well - he was half Danish I think... (I like Mortensen, but don't use him as inspiration - not knowingly at least...)

[Ironage]

https://farm6.staticflickr.com/5785/19956218764_a0cebe806d_k.jpg (https://flic.kr/p/wpsQzj)Crow Creek Falls (https://flic.kr/p/wpsQzj) by Timothy Gordish (https://www.flickr.com/photos/125171332@N02/), on Flickr

5x7 Cyanotype. I think it might have needed a little more exposure.

[koraks]

Nice blueprint, beautiful scene. Yeah, maybe a tad more exposure and it seems like the thicker coating in some areas has produced a better dmax. What kind of paper do you use? And is this traditional cyanotype or Mike ware's new version? The latter responds well to addition of a few drops of a strong citric acid solution to the sensitizer and dichromate for contrast control. I generally use 1 drop per ml of 40% citric acid and 1-2 drops of 2% ammonium dichromate.

[jp]

Did this a couple weeks ago with my test prints. Left is a normal test print, a little overdone. Middle is a 4x5 test print overdone, but partly bleached and then coffee toned. Right is mostly bleached and then coffee toned. Final print is below. It does not show the shadow gradations as nicely in this online reproduction as the original shows. I was going for the darker pictorialist style and nailed it good. Appears blocked up on the web, but it's nice in hand. From an 8x10 Ektascan b/ra negative. New Cyanotype chem on Arches Platine paper.

https://farm1.staticflickr.com/613/20579720365_ef1215a182_b.jpg (https://flic.kr/p/xmyrSV)_DSC1046 (https://flic.kr/p/xmyrSV) by Jason Philbrook (https://www.flickr.com/photos/13759696@N02/), on Flickr

https://farm1.staticflickr.com/670/20391740550_2e320d4925_c.jpg (https://flic.kr/p/x4X12C)_DSC1045 (https://flic.kr/p/x4X12C) by Jason Philbrook (https://www.flickr.com/photos/13759696@N02/), on Flickr

[Vaughn]

testing out posting a old image, but re-photographed and photoshopped to see how it looks on this site.

Redwood
Humboldt Redwoods State Park
8x10 carbon print from camera negative

Second image is the older version (same print, just not good as a reproduction of it).

[Ironage]

Thanks Koraks. Blue Print is the original formula. The paper is Rising Stonehenge. This was the first time I made a cyanotype from this negative.

[Jim Fitzgerald]

testing out posting a old image, but re-photographed and photoshopped to see how it looks on this site.

Redwood
Humboldt Redwoods State Park
8x10 carbon print from camera negative

Second image is the older version (same print, just not good as a reproduction of it).

I know that tree! Awesome. I think I have it back lit. Love the Redwoods.

[koraks]

Thanks Koraks. Blue Print is the original formula. The paper is Rising Stonehenge. This was the first time I made a cyanotype from this negative.

You're welcome! I've given up on classic cyano due to the inherently high contrast of the emulsion (so it can only print low contrast negatives). After messing about a lot and cursing new cyanotype for a few months, I've now apparently figured it out and find it much more flexible than the classic version. I'd recommend giving it a try.

[tgtaylor]

Silver nitrate with a dash of silver...

http://spiritsofsilver.com/yahoo_site_admin/assets/images/Quarters_Ft_Point_2015.203141043_large.jpg

and a little gold and platinum.

Thomas

[Vaughn]

I know that tree! Awesome. I think I have it back lit. Love the Redwoods.

I believe we were photographing together that day -- Bull Creek Flat.

[Jim Fitzgerald]

When we move north in a few months we can come often for a visit. Love the Redwoods! Isn't Bull Creek something else!

[Emil Schildt]

Stine Classic....

Painted with light - Bromoil print.

[Randy]

Stine Classic....Painted with light - Bromoil print. These are amazing.

[Emil Schildt]

These are amazing.

Thanks - I am satisfied I must admit...

[Ramiro Elena]

I don't know if you enhanced this after scanning it but it looks perfect. You can see the New Cyanotype characteristics in it. I just wish the formula could deliver clearer highlights. I've been struggling with it for some time. I am in the phase of trying new papers now.

https://farm1.staticflickr.com/670/20391740550_2e320d4925_c.jpg (https://flic.kr/p/x4X12C)_DSC1045 (https://flic.kr/p/x4X12C) by Jason Philbrook (https://www.flickr.com/photos/13759696@N02/), on Flickr[/QUOTE]

[jp]

Ramiro, thanks. if anything I have slightly hurt the shadow detail not enhanced anything with the reproduction here. The new cyanotype has a tremendous scale/range/richness in the darker tones (perhaps at expense of highlights). I like pictorialist styles, and many old photos from 100+ years ago had lots of dark tones, so I'm cool with how new cyanotype works for this.

To get better highlights, underexpose the print way more than you think you need to. It's not very linear with exposure in my experience. It took me 3 test prints to get this right instead of 1 because I was thinking it came out a little dark so I'd cut off a couple minutes and I'd be good, always underestimating how much to cut exposure. highlights can be adjusted with bleaching/toning if you are careful too. My experience here is with arches platine paper. The new cyanotypes for me also get lighter as they dry ; sort of the opposite of drydown. Perhaps I'd do well not to hydrogen peroxide them to preview the dry tones.

[koraks]

I never treat mine with peroxide, but I haven't noticed any lightening of the image upon drying. Unless I use a very acidic first wash and don't wash that all out in subsequent washes.

[Miguel Curbelo]

Ramiro,

Gvarro has some creamy-coloured paper that gives lovely results with cyanotypes -I'm afraid I can't find my reference though.

[koraks]

Here's a few I made this week. I decided to document the ugliness of my city. Lots of stuff to shoot. I'm using green-sensitive x-ray film for this, cut down to 4x5. New Cyanotype with a drop of 2% dichromate per ml added for contrast. Can't get the highlights to clear perfectly, but it's close. A lot of the original image is lost in the crappy scans (texture, hue; all lacking or wrong in the digital versions!)

Prints are straight from the original negatives on A5 (roughly 5x7") paper. It's the Dutch Schut drawing paper that I use for nearly all of my alt printing.

http://www.koraks.nl/galleries/prints/TU_151_03v.jpg

http://www.koraks.nl/galleries/prints/TU_151_04v.jpg

http://www.koraks.nl/galleries/prints/TU_151_02hc.jpg

http://www.koraks.nl/galleries/prints/TU_151_01w.jpg

[Ramiro Elena]

I ran a few test with different papers just now. I got quite acceptable results with all of them.
First was Buxton Platinotype which I had to mail order. Expensive stuff (very). Results as expected. Nice tonal range, clear enough highlights.
Second, some watercolor paper I bought from a friend who buys large stocks. This one didn't give me much confidence but it turned out to be good enough. Too bad is very thick and grainy. It reminds me of Gvarro which didn't work for me last time I tried. Mine was bright white Miguel.
Finally, I gave Canson Montval another try. It gives very nice definition and shadows. Too bad the highlights are always tinted in a magenta/brown shade. I've seen many people get awesome results with New Cyanotype and Montval, not my experience though.

All of them were rinsed in water. When using Mike Ware's formula I stay away from citric or acetic acid developing. They just lower the contrast too much for my taste (or my negatives). I should probably try adding dichromate to the sensitizer next time.

I'll post the pics when they dry.

[koraks]

Lower contrast with an acid wash? I haven't experienced this - on the contrary. I find it gives a slight boost to the shadows but mostly washes out the highlights, which I use to get as close as I can get to a full tonal range. The tap water here has quite a bit of calcium in it though, and the paper I use also seems to have a heavy chalk binder, so a slight (say 0.03% w/v) acidification of the first wash bath works well for me. I tried washing with straight tap water the other day, but got very muddy highlights.

Careful with the dichromate. The most I add is 2 drops of 2% per ml; at that point, the contrast goes through the roof (suiting even my weakest negatives) and exposure times are annoyingly long. With a normal x-ray negative and 1 drop of 2% dichromate I expose for ca. 3 minutes; add another drop and it becomes around 6.

[Ramiro Elena]

Well, at least that's what I use to get lower contrast with the old cyanotype formula... maybe Mike Ware's works differently.
Here's the tests mentioned before:

https://farm1.staticflickr.com/700/20718759321_a00bcf6528_z.jpg (https://flic.kr/p/xyR4ji)
Montval 01 (Nice density but brownish highlights.)

(https://flic.kr/p/xyR4ji) by Ramiro Elena (https://www.flickr.com/photos/rabato/), on Flickr https://farm6.staticflickr.com/5760/20711965235_c3c4123949_z.jpg (https://flic.kr/p/xyfeET)

Acuarela 300gr 01(Density here is much poorer) (https://flic.kr/p/xyfeET)

https://farm1.staticflickr.com/585/20685702896_430a54c7e1_z.jpg (https://flic.kr/p/xvVCMW)
Buxton 01 (coating issues and too much exposure, nice density nevertheless) (https://flic.kr/p/xvVCMW) by Ramiro Elena (https://www.flickr.com/photos/rabato/), on Flickr

[Randy]

Love the prints guys, I am enjoying the classic formula to much to move on just yet...

https://dl.dropboxusercontent.com/u/52893762/img622.jpg

8X10 X-ray neg, Konica Hexanon GRII 150mm

[jp]

Classic formula is nice too, just different. I tried the new formula simply for shorter exposure times.

[koraks]

With the classic formula I also used an acidic first wash to clear the highlights, but it does seem the new formula responds even stronger to it. Like it responds stronger to any variable you alter! Ramiro, that's a very useful paper test, thanks for posting!
And Randy, that's a fine image from the classic formula coined with a silver negative! I only get such results with digital negatives as my silver negatives always end up too contrasty for the classic formula.

[Ramiro Elena]

One more paper comparison. Canson Montval versus Buxton Platinotype.
I enjoy the tones in the Montval version, deeper and cooler. The highlights though... I should get clearer highlights with a citric acid wash then Koraks?
Or is it maybe that I need shorter exposure to save the highlights with Buxton Platinotype?

https://farm6.staticflickr.com/5705/20736651251_d9718ca5fb_z.jpg (https://flic.kr/p/xAqKXR)
Montval 02 (https://flic.kr/p/xAqKXR) by Ramiro Elena (https://www.flickr.com/photos/rabato/), on Flickr

https://farm6.staticflickr.com/5685/20729787105_104258bc0b_z.jpg (https://flic.kr/p/xzPzuv)
Buxton 02 (https://flic.kr/p/xzPzuv) by Ramiro Elena (https://www.flickr.com/photos/rabato/), on Flickr

[koraks]

Another very useful comparison; keep it up!

I can't claim to be an expert on this process; I've made a couple of hundred prints using both the old and the new formula, but frankly, there are so many variables involved (some of which are unknown and hard to control, such as paper sizing and binder chemistry) that I really can't deal in absolutes...The best I can do is share my observations with it being clear that they are also my interpretation of what's going on. YMMV and I gladly stand corrected.

Concerning the highlights, I have found a few things so far. The new formula especially tends to leave a greenish/grey residue that is visible in the highlights. I suspect this is due to the chalk binder/coating that is present in most papers. My speculation is that this creates a local alkaline environment in which non-dissolvable calcium-iron complexes form and settle in the paper. I try to prevent this in three ways: (1) paper choice, (2) addition of a drop of 40% citric acid per ml to the sensitizer solution and (3) a very slightly acidic first wash.

For the first wash, I usually mix 1.5 liters of tap water with about a teaspoon of citric acid (around 3g in weight), and I further dilute this down to 5-20% with tap water. As you can tell, this is every so slightly acidified. I have tried washing with up to a 10% citric acid solution, which I found leaves the shadows intact pretty much, but washes out the highlights. On the plus side, the highlights do clear to pure paper white this way (but at the cost of massive amounts of highlight detail)!

If I look at your most recent paper test, I would certainly give the first one (Montval 02) another try with an acidified sensitizer and first wash and try different dilutions of citric acid (see above). However, I would count on it that it's only possible to get the highlights to clear with a very strong acidic first wash and that will deteriorate highlight detail. Given the nice dmax of the paper I would give it a try though; it would be nice to combine the dmax of that paper with clear highlights. Btw, the good dmax suggests this paper isn't as alkaline as some of the ones I've tried. I have tried Canson drawing paper (I think 90g/sqm), which works fine with classic cyanotype, but produces a very weak image with the new formula.

The second paper (Buxton 02) looks much better and you may not even need the acidified first wash, or (depending on the quality of your tap water) only a minute amount of citric acid. I cannot judge it very well in the digital scans, but based on them I'd say the dmax is quite fine as well. This paper may need much less tweaking in your processing to get good results from.

The method I didn't mention to clear the highlights is to reduce exposure. Obviously though, this is a good method, but in the above I assumed that your exposure and the contrast of the sensitizer are dialed in to the requirements of the negative. If you find you get neutrally (blue, not greenish grey) colored highlights and good, dense shadows, then contrast control is the issue. This seems to be the case with the Buxton 02 test image. In your place, I would add a little (more) dichromate to the sensitizer and see if you can get a good print that way. Btw, the same is true for the other test images you posted; I'd try increasing the dichromate concentration a bit to get the contrast right.

However, having said that, like often in alternative printing (in my limited experience), there are interactions that complicate matters. You could increase the contrast of the sensitizer, getting your highlights closer to pure white, but if you also increase the acidity/lower the pH of your first wash, you'll start to degrade the highlights at the same time, increasing the apparent contrast of the print. The trick is to find an optimal combination of sensitizer contrast and first wash acidity, so that you preserve highlight detail and perhaps overexpose the print just a tad, so that you can wash out the unwanted greenish grey stuff with the acidic first wash. Essentially, you'd sacrifice a little bit of the highlight detail to achieve a better chemical purity. This, again, is a bit speculative, so take this with a grain of salt. But it's the hypothesis I have arrived at at this point.

Well, that's a lot of words about the alternative process that is supposed to be the easiest and the simplest to master. While cyanotype is certainly a cost-effective process that yields a somewhat decent result with relatively little effort, I have found it is as challenging as the other processes I've tried to get a print just right. In the dozens to hundreds of new formula cyanotype prints I've made so far, I have maybe 5 that I would consider really good, with even coating, good dmax and highlights that gradually fade into (nearly) pure paper white. The highlights remain a huge challenge; there always seems to be a slightly light grey tinge to the non-exposed areas of my prints that is not quite white, and to get to shift those areas to white, has so far always come at the cost of highlight detail. Maybe my sensitizer isn't as pure as I'd want it to be; I'll mix a new batch in the following weeks to see if it'll do better.

[jp]

Appreciate the sharing!

I've noted the old formula can go bad and lose contrast and highlight quality on it's way out. Haven't had the new formula long enough to know what happens as it ages.

[Ramiro Elena]

That is very interesting and it will help me on my next step. As you said Buxton paper was made specifically for alternative processes, so it responds much better. I think it is Mike Ware (maybe not) who recommends a first wash with sulfamic acid which is almost impossible to find here.
I will go two separate ways. First I'll try the dichromate without acidic wash. Then only the citric acid wash without dichromate. See which one leads me where.

For the time being I just bleached the hell out of those previous prints, which of course caused quite mess. The first seconds in the washing soda sure make the print look amazing. :)

[ndg]

"Rusted" - a Kallitype
http://nanadadzie.com/darkroom/pix/Rusted.jpg
From my recent trip to Old Car City (http://oldcarcityusa.com)
Captured on 8x10 Xray film (Ektascan) with Fuji 250mm f6.7 at f32
Developed with Rodinal in Jobo
Print on Arches Platine. Lately, I have been using potassium oxalate for my pd-pt prints and tried it for this print.
Toned in palladium.

[moizak]

Hi all, it's been a while since I posted anything. These are just some prints I made to feel my way back into LF and cyanotypes but they came out well enough that I thought I should share.

https://farm1.staticflickr.com/675/20666013358_9f31e9e430_z.jpg (https://flic.kr/p/xubHM9)Yoda (https://flic.kr/p/xubHM9)

https://farm6.staticflickr.com/5799/20844426732_9a4812d85f_z.jpg (https://flic.kr/p/xKX8RN)Lego (https://flic.kr/p/xKX8RN)

https://farm1.staticflickr.com/682/20665962000_449a6443e7_z.jpg (https://flic.kr/p/xubsvE)Converse (https://flic.kr/p/xubsvE)

https://farm1.staticflickr.com/695/20827734296_9f7655fca6_z.jpg (https://flic.kr/p/xJtzMb)Charlie & Lola (https://flic.kr/p/xJtzMb)

[ndg]

"Buds" - a Carbon Transfer Print
http://nanadadzie.com/darkroom/pix/Buds.jpg
Negative on 11x14 Green Xray film with Voigtlander 7, @ f4
Developed in Jobo with Rodinal
For the tissue, I tried out some Akua burnt umber liquid pigment.
I think the pigment load is rather low so one needs about 3x as much as india or sumi ink.
The print is on Ilford Art 300 paper.

[Ramiro Elena]

Charlie and Lola ❤

[ImSoNegative]

been playing around with salt printing, here is one I printed last night, shot with a 8x10, 24inch Artar, xray film, after this print I quickly learned my first wash needs to be longer

https://farm6.staticflickr.com/5658/21109369711_3b4854c560_c.jpg (https://flic.kr/p/yan3bc)Toccoa River (https://flic.kr/p/yan3bc) by john golden (https://www.flickr.com/photos/126756312@N03/), on Flickr

[RPippin]

Three images from the studio of Manupropria in Staunton Virginia. The two train station shots were done on expired (2002) TMax developed in PMK Pyro. All printed on Arches Platine with Kallitype. Scanned but unedited.139300139301139302

[bob carnie]

Very beautiful image, perfect example of what I remember as a child walking around the river on an extremely hot day.


been playing around with salt printing, here is one I printed last night, shot with a 8x10, 24inch Artar, xray film, after this print I quickly learned my first wash needs to be longer

https://farm6.staticflickr.com/5658/21109369711_3b4854c560_c.jpg (https://flic.kr/p/yan3bc)Toccoa River (https://flic.kr/p/yan3bc) by john golden (https://www.flickr.com/photos/126756312@N03/), on Flickr

[koraks]

Excellent kallitypes! They make me jealous! Is this a ready-made kallitypes kit? Digital negatives or the original ones?

[RPippin]

Original negatives, all the chemistry was mixed in the darkroom. Not a difficult process to mix chemistry for. Let me know if you need formulas.

[andreios]

Three images from the studio of Manupropria in Staunton Virginia. The two train station shots were done on expired (2002) TMax developed in PMK Pyro. All printed on Arches Platine with Kallitype. Scanned but unedited.139300139301139302

Nice indeed! What developer and/or toner did you use?

[koraks]

Original negatives, all the chemistry was mixed in the darkroom. Not a difficult process to mix chemistry for. Let me know if you need formulas.
Nice, thanks! I put any kallitype experiments on hold due to the outrageous cost of ferric oxalate here in Europe. I've decided to stick to cyanotype, Van Dyke Brown and carbon transfer for now.

[RPippin]

Thanks, Andreios. The developer is from Bostick and Sullivan, the black developer, and no toning. These are straight scans as well, so what you see is pretty much correct in tones. Sorry to hear about the cost of Ferric Oxalate being so expensive, it's not cheap here either, but ignore all the warnings about it having a short shelf life. The FO I'm using here was mixed last December and it's still good. Not refrigerated either. I'll send you a PM with the formulas if you think you might want to try it out.

[andreios]

Thanks, Andreios. The developer is from Bostick and Sullivan, the black developer, and no toning. These are straight scans as well, so what you see is pretty much correct in tones. Sorry to hear about the cost of Ferric Oxalate being so expensive, it's not cheap here either, but ignore all the warnings about it having a short shelf life. The FO I'm using here was mixed last December and it's still good. Not refrigerated either. I'll send you a PM with the formulas if you think you might want to try it out.

I'd be interested in the black dev. formula.. I usually develop my kallitypes in Sodium Citrate - which makes results reddish brown, but one or two black dev formulas that i have tried somehow increased the graininess - nice sometimes, but not always..
And yes, FO is expensive, but much less than Pd or Pt, so I just accept it and print.. :)

[RPippin]

Andreios, I'll get the formula from the darkroom next time I'm down there and send it to you.

[hendrik faure]

http://i1322.photobucket.com/albums/u568/hfa8/la%20grande%20traversee_zps6wjylabo.jpg
coperplate gravure from fp 100 8x10 portrait lens

[ndg]

http://i1322.photobucket.com/albums/u568/hfa8/la%20grande%20traversee_zps6wjylabo.jpg
coperplate gravure from fp 100 8x10 portrait lens

Hendrik, long time! Another great print. New series?

[Erik Larsen]

That's wonderful Hendrick! My compliments

[koraks]

Hendrik, all aspects of your image making command a great respect and admiration for the dedication and the results you achieve. You are a true artist.

[hendrik faure]

thank you all very much.
We spent our holidays at home, so I had to invent the sea adventure.

[Doug Howk]

Boneyard Beach, Big Talbot Isl, FL.
Palladium print using Dichro method. 8X10 negative exposed with red filter.

http://www.vanhuyckphoto.com/images/Driftwood_Xs.jpg

[Corran]

Nice one Doug. I was just over at Big Talbot a couple of weeks ago with some of our photo students. We stopped by after visiting the Harn.

There's so much there it can be daunting. I like your composition.

Have you been up to Jekyll Island in GA? There's another beach full of driftwood and such, but it's a lot different than Big Talbot.

[Doug Howk]

Bryan, thanks for the compliment.
As to Jekyl Isl, its on my list for this Fall with somewhat cooler weather. From what I've seen by others, it looks ideal for more panoramic views.

[andreios]

http://i1322.photobucket.com/albums/u568/hfa8/la%20grande%20traversee_zps6wjylabo.jpg
coperplate gravure from fp 100 8x10 portrait lens

Once more a stunning image from you, Hendrik! Fascinating stuff.. Both mine and my wife´s first associated thought was about Moby Dick..

[bob carnie]

Is there a place where I can see more of your work? quite striking first image I have seen of your prints.

thank you all very much.
We spent our holidays at home, so I had to invent the sea adventure.

[Emil Schildt]

painted with light - negative killed - Bromoil Print 12x16"

[basiltahan]

After many years working with Alt. Printing I have amassed quite the cabinet of chemicals. For fun, you might try to name the technique associated with these:

Acetic acid - 1l
Acetone - 1.5l
Ammonium ferric oxalate - 600g
Ammonium iron citrate (brown) - 300g
Ammonium iron citrate (green) - 700g
Citric acid - 500g
Clorox bleach - 500ml
Copper sulphate - 1kg
Ethyl alcohol - 200ml
Ferric oxalate - 1kg
Formalin - 1l
Gelatin - 1kg
Gold chloride - 300ml
Gum Arabic - 1.3kg
Hydrogen peroxide 3% - 500ml (1 bottle)
India ink - 1.5l
Odorless White spirit - 350ml
Potassium bromide - 500g
Potassium Chloroplatinite 5g
Potassium dichromate - 500g
Potassium ferrocyanide - 200g
Potassium permanganate - 1kg
Salt (sodium chloride) - 2kg
Silver nitrate - 150g
Sodium bisulfate - 1kg
Sodium carbonate - 200g
Sodium citrate - 500g
Sodium meta bisulphate - 2kg
Sodium sulphite - 20kg
Sodium thiosulphate (hypo) - 20kg
Sugar - 400g
Tannic Acid - 500g
Tartaric acid - 500g
Thiourea - 1kg
Tween 20 - 1l

[Tin Can]

Where are the starches...

[ImSoNegative]

posted one of these in the portrait section figured I would post the other one here, C1, xray film, 250mm 6.7. salt print

https://farm6.staticflickr.com/5790/21427816496_f075c7b44b_c.jpg (https://flic.kr/p/yDvaj1)Kendal (salt print) (https://flic.kr/p/yDvaj1) by john golden (https://www.flickr.com/photos/126756312@N03/), on Flickr

[ImSoNegative]

salt print, c1, 360 fujinon

https://farm6.staticflickr.com/5827/21501188976_3416423541_b.jpg (https://flic.kr/p/yKZdoL)cheyanne salt print (https://flic.kr/p/yKZdoL) by john golden (https://www.flickr.com/photos/126756312@N03/), on Flickr

[pau3]

Gold toned Kallitype (with a lot of mistakes, some of them, not many, on purpose, see the other thread ;-))

https://farm1.staticflickr.com/587/22253717926_75318c0450_o.jpg

[Erik Larsen]

Canyonlands NP.
8x10 fp4 using 305 graphic kowa. Gum over pt/pd. Digineg on pictorico. Forgive the iPhone repro please
142314

[Jim Fitzgerald]

Beautiful Erik. Great timing.

[koraks]

Stunning, Erik! I've just started dabbling in gum bichromate myself; certainly not up to your level yet!

[Erik Larsen]

Thanks guys

[bob carnie]

142371

Here is a conversion to black and white negative which made the palladium base image, then applied two different tonal negatives, Midtone range negative Sepia pigment was added , Highlight range negative Blue pigment was added.

original image Rita Leistner.

[Erik Larsen]

That is very interesting Bob! On my screen it appears to be a painting. Very cool

[bob carnie]

Hi Erik thank you - no its a photo based image. The look I am getting with tri pigment over palladium is quite different . this method of printing allow for much experimentation within a image. the blue highlight negative really worked for this image.
By playing with tones on different negs you can produce a very significant dmax pt pd print that is sharp, to this soft rendition.. remember this is a digital camera capture of a print I made, so it is a bit softer than the original.

I am about to do a series of Black White images solarized in the film and start applying pigment to different tonal regions... I really am excited about all of this.



That is very interesting Bob! On my screen it appears to be a painting. Very cool

[bob carnie]

Hi Erik

are you doing multiple prints to get the warmth over the print , ie separated negatives or are you using same negative for pt pd and then gum over?

Canyonlands NP.
8x10 fp4 using 305 graphic kowa. Gum over pt/pd. Digineg on pictorico. Forgive the iPhone repro please
142314

[Erik Larsen]

Hi Erik

are you doing multiple prints to get the warmth over the print , ie separated negatives or are you using same negative for pt pd and then gum over?

Hi Bob, same negative for both. The gum only reaches to the lower mids to punch up the dmax a bit. I would need a softer negative if I wanted the gum to go all the way to the highs. It is a warm print, but I believe the iPhone white balance makes it appear warmer than reality.

[Erik Larsen]

Hi Erik thank you - no its a photo based image. The look I am getting with tri pigment over palladium is quite different . this method of printing allow for much experimentation within a image. the blue highlight negative really worked for this image.
By playing with tones on different negs you can produce a very significant dmax pt pd print that is sharp, to this soft rendition.. remember this is a digital camera capture of a print I made, so it is a bit softer than the original.

I am about to do a series of Black White images solarized in the film and start applying pigment to different tonal regions... I really am excited about all of this.

I admire where you are taking this to, I look forward to seeing more of this line of work.

[bob carnie]

I am setting up 10 images right now for printing over next two weeks i will post a few. Just got another commission for a lovely series taken in Iraq , so I am quite busy with this and really loving this direction.

[captainscot]

142772

4x10 Palladium platinum using the dichromate method on Arches platine.

[ImSoNegative]

salt print from whole plate negative,

https://farm6.staticflickr.com/5705/23479919411_df99f16776_b.jpg (https://flic.kr/p/BLQJ1K)Blue Ridge Depot at night (https://flic.kr/p/BLQJ1K) by john golden (https://www.flickr.com/photos/126756312@N03/), on Flickr

[Don Ciccone]

Canyonlands NP.
8x10 fp4 using 305 graphic kowa. Gum over pt/pd. Digineg on pictorico. Forgive the iPhone repro please
142314

Really stunning image. Would love to see the original print. Can you give us any details of the process? Which pigments did you use; how many coats; paper; etc.
Thanks for any additional info you can provide.

Don

[Erik Larsen]

Really stunning image. Would love to see the original print. Can you give us any details of the process? Which pigments did you use; how many coats; paper; etc.
Thanks for any additional info you can provide.

Don

Thanks Don. Nothing that exotic about the process I used. Single coat of pt/pd on platine paper. Sized the print with pva diluted a bit. Single coat of gum exposed for about 60% of the pt/pd exposure to put a little enhancement in the shadows. Windsor Newton lamp black with a little bit of burnt umber pigment was used in the gum coat. That's it.

[Don Ciccone]

Thanks for the information Erik, much appreciated. Is there a reason you prefer a digital negative over the in camera original? Do you alter the image much in PhotoShop? Either way, the result is really great.

Don

[Erik Larsen]

Thanks for the information Erik, much appreciated. Is there a reason you prefer a digital negative over the in camera original? Do you alter the image much in PhotoShop? Either way, the result is really great.

Don

I don't prefer digital negs Don, it was the only way to get a bigger print made that was requested. I'm terrible at photoshop and avoid it like the plague if I can...

[Andrew O'Neill]

Erik, don't you have to pre-shrink the paper first? And, why do you size it? I've never bothered sizing Arches Platine for gum... What's your reason? Thank you.

[Erik Larsen]

Erik, don't you have to pre-shrink the paper first? And, why do you size it? I've never bothered sizing Arches Platine for gum... What's your reason? Thank you.

I don't pre shrink the paper Andrew, I dry mount it to aluminum sheet with removable tissue. I used to pre shrink paper, but I find in my workflow that I sometimes washed out the papers size making it difficult to coat with pt/pd without using more solution than I wanted to. I size out of habit, better safe than sorry I guess. It's just what I have evolved to do through trial and error

[bob carnie]

Hey Erik - what tissue are you using?

Are you sizing with gelatin, and if so are you sizing to stop the gum pigment to sink too deep in the paper.?

I don't pre shrink the paper Andrew, I dry mount it to aluminum sheet with removable tissue. I used to pre shrink paper, but I find in my workflow that I sometimes washed out the papers size making it difficult to coat with pt/pd without using more solution than I wanted to. I size out of habit, better safe than sorry I guess. It's just what I have evolved to do through trial and error

[Erik Larsen]

Hey Erik - what tissue are you using?

Are you sizing with gelatin, and if so are you sizing to stop the gum pigment to sink too deep in the paper.?

Bob, I'm using a roll I bought from Freestyle. It is the Arista brand I believe. To remove the print I just stick it in the dry mount press and pull it out hot and the print peels right off and the tissue stays stuck to the aluminum and I can reuse the tissue stuck to the aluminum for the next print if wanted. I size with gamblin pva diluted 1:2 with water. Yes, it's to keep the pigment from staining the paper.

[bob carnie]

If you were to do multiple coats I imagine one size with PVA would be required , and not to PVA between each coat.

I am scanning some prints right now to post here of my most recent project

Thanks

Bob


Bob, I'm using a roll I bought from Freestyle. It is the Arista brand I believe. To remove the print I just stick it in the dry mount press and pull it out hot and the print peels right off and the tissue stays stuck to the aluminum and I can reuse the tissue stuck to the aluminum for the next print if wanted. I size with gamblin pva diluted 1:2 with water. Yes, it's to keep the pigment from staining the paper.

[bob carnie]

Do you hot mount it first to the aluminum or do you cold mount it, then hot mount it to release?

Bob, I'm using a roll I bought from Freestyle. It is the Arista brand I believe. To remove the print I just stick it in the dry mount press and pull it out hot and the print peels right off and the tissue stays stuck to the aluminum and I can reuse the tissue stuck to the aluminum for the next print if wanted. I size with gamblin pva diluted 1:2 with water. Yes, it's to keep the pigment from staining the paper.

[Erik Larsen]

Do you hot mount it first to the aluminum or do you cold mount it, then hot mount it to release?

I hot mount it first and hot mount to release. I don't think think this tissue will work any other way.

I pva size after the pt/pd is made but not between gum coats if that is what you mean.

[bob carnie]

143528143529

From an ongoing series - World Heritage Sites - Image courtesy Monica Glitz - Tri Colour Pigment over Palladium

[bob carnie]

Thanks if you don't mind posting the name I would appreciate it.. I imagine the hot mount goes on at one temp and the release at another temp.
I assume you are very happy with the paper staying on the aluminum through multiple water baths.



I hot mount it first and hot mount to release. I don't think think this tissue will work any other way.

I pva size after the pt/pd is made but not between gum coats if that is what you mean.

[Erik Larsen]

http://www.freestylephoto.biz/552050-Arista-Dry-Mount-Tissue-20-in.-x-50-yds.-roll

I use the same temp for both mounting and unmounting as my press thermostat is wonky and unreliable. I haven't had the paper unmount during multiple water baths. I've only used it on black aluminum which has a matte surface. I'm not sure how it would work on glossy aluminum. I'm assuming the aluminum I use is enameled, but it might be powder coated?

Those prints are incredible! I'm assuming several gum layers were used with all the different colors being shown? I'm too much a novice at photoshop to separate negs... Your client must be thrilled

[NedL]

From an ongoing series - World Heritage Sites - Image courtesy Monica Glitz - Tri Colour Pigment over Palladium

Those are wonderful!

[bob carnie]

Thanks Erik

I make a Palladium negative, In the negative I suck out some to the dominant colours so they print lighter in the palladium only main image.
This negative is the only one I sharpen and depending on the look I will increase or decrease the contrast.

I then make three negatives- Cyan , Magenta and Yellow- we strip them together with registration tabs, the original paper is on punched aluminum
then we hit each layer down.
I am still in the early stages trying to decide which layer first ..

It seems Cyan negative colour is a very dominant colour so I generally put the cyan down first.

Separating in PS is easy but time consuming.

This show for Monica is going to be over 80 -100 plates , all images are from Unesco Heritage sites world wide.
Our goal is to travel this show across Canada in 2017 - basically to show the public all the interesting and diverse regions where we Canadians come from.

Bob





http://www.freestylephoto.biz/552050-Arista-Dry-Mount-Tissue-20-in.-x-50-yds.-roll

I use the same temp for both mounting and unmounting as my press thermostat is wonky and unreliable. I haven't had the paper unmount during multiple water baths. I've only used it on black aluminum which has a matte surface. I'm not sure how it would work on glossy aluminum. I'm assuming the aluminum I use is enameled, but it might be powder coated?

Those prints are incredible! I'm assuming several gum layers were used with all the different colors being shown? I'm too much a novice at photoshop to separate negs... Your client must be thrilled

[David Aimone]

Here's one for you Bob C. One of my first attempts at tri-color gum over palladium. Did not come out well, then I threw a bit of burnt sienna on it and now I kind of like it for what it is. Apparently that's a big part of gum printing! Back to practicing....

https://c2.staticflickr.com/6/5633/23768894605_6b1c609be7_b.jpg

[bob carnie]

143548

Here are two more Heritage Sites- Monica Glitz

Lots of fun, will post some new images in a week or so from a Prisoner Series I am working on

After the workshop I will post Students work and my own as we move through.

[bob carnie]

143549

Here is the last one I will post of Monica Glitz for awhile

[ckagy]

Here's one for you Bob C. One of my first attempts at tri-color gum over palladium. Did not come out well, then I threw a bit of burnt sienna on it and now I kind of like it for what it is. Apparently that's a big part of gum printing! Back to practicing....

https://c2.staticflickr.com/6/5633/23768894605_6b1c609be7_b.jpg

David, I love the warm feeling of this. Very nicely executed.

-Chris

[ndg]

Bob, Erik and David - well done! Beautiful prints indeed!

[Andrew O'Neill]

Bob, can you reuse the aluminum sheets for other prints? I know a guy in Seattle (David Pitcher) who uses Beva Tex dry mounted to the back of paper to prevent shrinking. It works really well.

[bob carnie]

Hi Andrew

At this point I am using a very aggressive mt optically pure adhesive used for face mounting.. I want to reuse the aluminum and like Eriks method and I will look into Beva Tex
There is question about the tissue , being archival - so I really like the idea of removing
Right now I am following Irving Penns method which I feel is nothing to sneeze at.

I also am moving to a smaller gage aluminum from the 20 gage I am using right now so I still am experimenting.


Bob, can you reuse the aluminum sheets for other prints? I know a guy in Seattle (David Pitcher) who uses Beva Tex dry mounted to the back of paper to prevent shrinking. It works really well.

[bob carnie]

Hi David

are you using registration? I remember this image, either way its a lovely scene and works well even if you do not like it It has a very old world look to it.


Here's one for you Bob C. One of my first attempts at tri-color gum over palladium. Did not come out well, then I threw a bit of burnt sienna on it and now I kind of like it for what it is. Apparently that's a big part of gum printing! Back to practicing....

https://c2.staticflickr.com/6/5633/23768894605_6b1c609be7_b.jpg

[Andrew O'Neill]

Thanks Bob. Where do you source aluminum sheets from?

[SMBooth]

One of my more successful carbon transfer images.
15% Glop , 3% PD on to Fomaspeed RC paper.
143603

[bob carnie]

metal supermarket here in Toronto, should be something out west.

you should look for 15-20 gage, I am using 20 gage and will move down to a smaller gage.

Thanks Bob. Where do you source aluminum sheets from?

[Jim Fitzgerald]

One of my more successful carbon transfer images.
15% Glop , 3% PD on to Fomaspeed RC paper.
143603

Very nice print. Congratulations!

[Vaughn]

One of my more successful carbon transfer images.
15% Glop , 3% PD on to Fomaspeed RC paper.

Congrats! Looks sweet!

[Andrew O'Neill]

Thanks Bob. There's a metal supermarket nearby.

[Rick A]

Revisiting old negatives on a rainy day
4x5 EDU Ultra 100/cyano on Parchment

https://c2.staticflickr.com/2/1602/23696631419_ff2f9e2bf1_c_d.jpg

[Rael]

Revisiting old negatives on a rainy day
4x5 EDU Ultra 100/cyano on Parchment



Beautiful tonal range on this one. I wish my cyanos came out that well. What brand of paper?

[Rick A]

Beautiful tonal range on this one. I wish my cyanos came out that well. What brand of paper?

Strathmore 400 series natural parchment. I should note, I developed in undiluted distilled white vinegar. I've read that developing in vinegar gives extended mid tones.

[koraks]

In my experience, an acid developer helps to clear highlights and thereby increases contrast. But...at the potential loss of highlight detail - which your image does not seem to suffer from at all! I've tested dilutions of up to 10% acetic acid, but nowadays, I develop in a highly dilute (ca 0.3%) citric acid solution. With new cyanotype, that's enough to clear the green stain without loss of highlight detail.

I also found that acetic acid shifts the tone to a slightly greenish blue, while citric acid produces a slightly warmer, more reddish blue that I personally prefer.

[jp]

Just a happy discovery today.

The white film-sized paper that bookends the film in Kodak 4x5 sheet film packages makes a REALLY nice cyanotype paper. My sample is drying at the moment, and then will be bleached and toned, so it may be a couple days before I can show a scan.

I was doing some cyanotypes today and had ~~ 1 ml of chemistry left over, so I grabbed a random piece of paper for a test coat. I'd used this to mark the coating area on fancier paper, so it was handy.

[jp]

First two are on the sheet film paper (paper that is in the bag with the Kodak film) Third is tannic acid toned cyanotype on arches platine.

Negatives are 4x5 FP4+ in pyrocat hd.

https://farm2.staticflickr.com/1613/23534096203_5814ac932c_c.jpg (https://flic.kr/p/BRCoTn)
E-_2016scans_20160103_Untitled-2 (https://flic.kr/p/BRCoTn) by Jason Philbrook (https://www.flickr.com/photos/13759696@N02/), on Flickr

https://farm2.staticflickr.com/1472/24160875795_401b58dab2_c.jpg (https://flic.kr/p/CP1NC4)
philczak-cyano1 (https://flic.kr/p/CP1NC4) by Jason Philbrook (https://www.flickr.com/photos/13759696@N02/), on Flickr

https://farm2.staticflickr.com/1687/23532661374_087011a84a_c.jpg (https://flic.kr/p/BRv3mW)
Untitled-3 (https://flic.kr/p/BRv3mW) by Jason Philbrook (https://www.flickr.com/photos/13759696@N02/), on Flickr

Also on sheet film paper..

https://farm2.staticflickr.com/1670/24078267251_3bbd8a9fb1_c.jpg (https://flic.kr/p/CFHpYP)
E-_2016scans_20160103_Untitled-4 (https://flic.kr/p/CFHpYP) by Jason Philbrook (https://www.flickr.com/photos/13759696@N02/), on Flickr

[Andrew O'Neill]

You learn something new everyday. Thank you, gentlemen!

[tgtaylor]

Blue Angel - Oakland, CA

https://c1.staticflickr.com/1/615/22629330373_37493c89cd.jpg

Tannic acid looks interesting but wouldn't work with this image. The angel is a little dirty having been exposed to the elements for the past 100 or so years - especially in the recent drought where there were no storms bring heavy rain and winds to "wash" it. I wonder what it will look like after the coming El Nino?

Thomas

[hendrik faure]

Is there a place where I can see more of your work? quite striking first image I have seen of your prints.
Bob, sorry for late reply. Next place to see some of my photos is art supplement gallery in Göttingen from 05feb to 04march 2016 where I will show (re)cycling photogravures. Göttingen has a railway station halfway between Hamburg and Frankfurt. In Internet my own website is not worth opening, but some pictures you find via http://www.lauraannnoble.com/hendrik-faure/

http://i1322.photobucket.com/albums/u568/hfa8/milk%20smallpack_zpsgl3jjivv.jpg

This picture I took 15 years ago on 8x10film, the 28x35cm photogravure I made now for the above mentioned exhibition: etched copperplate, asphalt aquatinta, somerset paper, gambling black bone ink. You see remainings of a milk bottle washing machine.

[Ramiro Elena]

Fantastic Jason! Beautiful detail and tone.


First two are on the sheet film paper (paper that is in the bag with the Kodak film) Third is tannic acid toned cyanotype on arches platine.

Negatives are 4x5 FP4+ in pyrocat hd.

[hazardsg]

Here is a quick scan of a Tea toned cyanotype. The scan doesn't seem to have the same detail and looks considerably more grainy. Apparently I need to work on scanning prints. :)

Kodak 8x10
Wollensak Velostigmat series i 12" f/6.8 at f/22
Kodak Ektascan iso 100
Drum processed in rodinal 1+100 for 5:15
144550

[SMBooth]

Carbon on Magnani Reve hot press with gelatin size. Moving on from fixed out photo paper, the art paper is much more to my liking, just a mess coating it.
144571
2% PD, 15% Glop

[Vaughn]

Carbon on Magnani Reve hot press with gelatin size...

Well done! Fortunately, my images still call for fixed-out photopaper...one less chore to do!

[mono]

I am trying - new to me - cyanotypes

144573

Tea toned

[Randy]

Folker, how did you get the toning centralized to the image - did you paint the tea onto that area? Very nice look.

[mono]

Thanks, Randy!
All I can say: Yes! ;-)

[SMBooth]

Well done! Fortunately, my images still call for fixed-out photopaper...one less chore to do!

Thank Vaughn, it's nice when something works out.

[Andrew O'Neill]

Boy, I sure am getting deleted a lot these days...
Fixed out photo paper is a wonderful substrate for carbon transfer printing. I especially like Ilford's matte fibre paper. It bothers me though, to fix out all that silver!

[peter schrager]

Andrew I have a supply of Baryta paper..will that work for carbon
No wasting silver...

[Andrew O'Neill]

Where did you get it from?

[Rael]

This was pretty much my first negative out of the Korona 5x7. Not a great negative, so I did a van dyke brown contact print on Arches. Original negative HP5 processed in R09.

https://farm2.staticflickr.com/1621/24168641522_8762a30c55_b.jpg

[Andrew O'Neill]

Very nice, Rael. Which Arches did you use?

[Rael]

Very nice, Rael. Which Arches did you use?

Thank you! This was 140lb cold press block. For some reason the scan accentuates the texture.

[Randy]

My Grand daughter and daughter-n-law (pregnant with my next grand daughter) - shot last May, Graflex Series D 4X5.

You have to guess which alternative printing process I employed.

https://dl.dropboxusercontent.com/u/52893762/img669a.jpg

[ckagy]

Randy, how did you tone that Van Dyke brown such a deep blue??

[Andrew O'Neill]

ckagy, it's obviously a platinum print toned in ultramarine blue water colour paint. The real question is, what brand of water colour paint he used...

[ckagy]

You are absolutely correct, Andrew. I was confused by the printing artifacts that looked like brush strokes.

-Chris

[Andrew O'Neill]

Oh... they're not brush strokes??

[Randy]

Both wrong - its a sighaknowtype

[SMBooth]

"Flinders Pier" Pinhole image from a 5x7 / 140mm printed as a Kallitype on Cot 320 hot press. Untoned

145324

[Frank_E]

Cyanotype from a 4x5 negative:

https://farm2.staticflickr.com/1500/24540193365_d346c4cfd2_b.jpg (https://flic.kr/p/DowUwa)rain forest (https://flic.kr/p/DowUwa) by Frank Gab&Tor (https://www.flickr.com/photos/feberdt/), on Flickr

[Randy]

Frank, wonderful print

[OMU]

Heidi
Bromoil on liquide emulsion
Gandolfi 8x10, reduction back 4x5
Fomapan 100 @ 50 in xtol

http://oddmagneulvund.no/onewebstatic/47fc93dbd2-Hjemmeside-Portretter%20med%20bromoil-Heidi_BromDes2015_0007.jpg

[NedL]

Heidi
Bromoil on liquide emulsion
Gandolfi 8x10, reduction back 4x5
Fomapan 100 @ 50 in xtol


very nice! What kind of paper is the please?
A waterleaf paper like Zerkall copperplate?

[OMU]

Hello Nedl,

Yes, it's from Zerkall, and the liquid emulsion is from Foma.

Zerkall - Zerkall Copperplate 7317/1 fint/hvidt Ark 76x107cm/350.

[NedL]

Thank you!

[papercam]

Heidi
Bromoil on liquide emulsion
Gandolfi 8x10, reduction back 4x5
Fomapan 100 @ 50 in xtol

http://oddmagneulvund.no/onewebstatic/47fc93dbd2-Hjemmeside-Portretter%20med%20bromoil-Heidi_BromDes2015_0007.jpg

Wonderful image !
Thankyou for posting this.

[photojeff3200]

Love this! I really like the look of the cold pressed paper. Beautifully warm mood you created here. Love the light reflections in the floor.


This was pretty much my first negative out of the Korona 5x7. Not a great negative, so I did a van dyke brown contact print on Arches. Original negative HP5 processed in R09.

https://farm2.staticflickr.com/1621/24168641522_8762a30c55_b.jpg

[photojeff3200]

This is a Rawlins Oil print from a 12x12 wet plate negative. I'm digging the Rawlins so much that I'm leaving salt printing which I HAD considered the bees knees.
-140lb Arches Platine and Graphic Chemical Co ink.
Jeff
145518

[Jody_S]

This is a Rawlins Oil print from a 12x12 wet plate negative. I'm digging the Rawlins so much that I'm leaving salt printing which I HAD considered the bees knees.
-140lb Arches Platine and Graphic Chemical Co ink.
Jeff
145518

Nice!

[ImSoNegative]

Two more Bromoil prints

Tried some darker tones this time - I kind of like that...

First is Mia

Foma 13x18cm 100iso - Gandolfi camera



Second is Monika



Pol 665 - Sinar Norma.

I really enjoy your bromoil's I just started this process myself and am really enjoying it

[Denny]

Jeff, I'm feeling a strong Mortenson vibe here. Very nice.
Denny

[photojeff3200]

Denny, I googled his images, a compliment indeed! Thank you, I'm going to check his stuff out in detail. Thank you
Jeff

[photojeff3200]

Thanks Jody s!

[ImSoNegative]

This is a Rawlins Oil print from a 12x12 wet plate negative. I'm digging the Rawlins so much that I'm leaving salt printing which I HAD considered the bees knees.
-140lb Arches Platine and Graphic Chemical Co ink.
Jeff
145518

that is an excellent image

[ndg]

This is a Rawlins Oil print from a 12x12 wet plate negative. I'm digging the Rawlins so much that I'm leaving salt printing which I HAD considered the bees knees.
-140lb Arches Platine and Graphic Chemical Co ink.
Jeff
145518

Totally love it! Isn't making an oil print a blast?

[photojeff3200]

Thanks for the compliment Imsonegative!

Nana, I love the Oil process. You were the one that said to continue with it when I gave up on the process. So, thank you! I took your advice.

Jeff

[ImSoNegative]

Made from an 8x10 contact print



https://farm2.staticflickr.com/1457/24594888215_eebb47d312_c.jpg (https://flic.kr/p/DtneoP)cell phone picture of my first bromoil (https://flic.kr/p/DtneoP) by john golden (https://www.flickr.com/photos/126756312@N03/), on Flickr

[ndg]

Thanks for the compliment Imsonegative!

Nana, I love the Oil process. You were the one that said to continue with it when I gave up on the process. So, thank you! I took your advice.

Jeff

Jeff, awesome! Someone listened to me for a change.[emoji6]

[bob carnie]

Here are a couple of Duo Tone over Palladium I am working on for a show in Montreal this spring.

These are from my solarization project.

145626145627


I cannot express how much fun it is to do this type of work, I feel like I did in my second year of photography school, when I work on these... A very fresh feeling after a 40 year career.

[Michael R]

Bob - where in Montreal are you exhibiting?

[bob carnie]

www.lespacecontemporain.com

Friday 21st is the opening and I will be there for the weekend.

My production co ordinator just attended their opening last friday- we will be announcing the winner of the show of Quebec artists
that will have a solo at our gallery in Toronto.

She met with about 10 great people that are interested in helping us create a photography corridor between Montreal and Toronto.

I have also booked this gallery for November.




Bob - where in Montreal are you exhibiting?

[bob carnie]

Michael

This corridor I speak of is City's with vibrant photography that are within a days drive from Toronto.

Our goal is to create a Circuit of gallery's that cross promote shows and exhibits.

We are currently working on a submission for one of our artists at La Tohu in Montreal which seems to be an
exciting venue.

We plan on doing a lot of POP UP's within each city in fact Carissa met with a young photographer in your city who can facilitate
a space within a very short period of time, We have photographers with printed and framed work as well easels and lighting to
open up a room for a weekend very fast.

Currently I have contacts in various cities that are interested in this Idea.

Bob

[photojeff3200]

Jeff, awesome! Someone listened to me for a change.[emoji6]

Ha! I feel you.

[Andrew O'Neill]

Carbon Transfer print from 8x10 HP5 film negative. Mixed in a little more Venetian Red than I usually do with the Lamp Black water colour for this batch of carbon tissue... but I like it. This is from my Manda coal mine series, in Omuta, Japan.


https://farm2.staticflickr.com/1627/24012521943_05fdd99c47_b.jpg (https://flic.kr/p/CzUsc2)Manda Cart (https://flic.kr/p/CzUsc2) by Andrew O'Neill (https://www.flickr.com/photos/62974341@N02/), on Flickr

[mono]

146500
Argyrogram

[bob carnie]

https://dylanellisgallery.wordpress.com/2016/02/12/summerfall-alt-workshops/

I started a thread about workshops but if you missed here is a link to it- Lots of self promotion I know, but if you follow the Heather Fulton video she walks one through the process of making a Gum over Palladium.

I am working this holiday weekend on 25 images, all the film has been made, stripped and I am about to coat all in a big process line...think of I Love Lucy when Lucy got on the assembly line and couldn't keep up.

My wife is coming in to help me and we are just going to hunker down and print.. I hope to post some of our weekend work next week.
So we coat all the palladiums, probably 7 at a time then process , repeat , repeat.

Then we lay down all the cyan again 7 at a time the wash, repeat , repeat

and so on , basically it takes about 7 full days to make 20 finals, and I know I will bounce a few so its very labour intensive , but it really is a lot of fun.

[blanchenickens]

So many fine images in this forum.
But I miss a thread where we can post our images, made in one or more of the fascinating "alternative" techniques that are out there...

show us your Cyanotypes - Oil prints - Bromoils - Albumen's - Van Dyke's - Carbon prints - photo gravures or what you are currently working with.

Please let us know what technique used (Camera's - lenses are always fine too)...

C'mon: I dare you! :D

Nice idea, I'd really like to see
http://hautavis.net/128/o.png

[photojeff3200]

Good luck with that Bob. The most I've ever done in one day were 8 salt prints of one image, it almost killed me! I'm going to brew another pot of coffee and watch those two videos that I saw when I clicked on the link you provided. I enjoy watching photographers work in their particular alt (traditional) processes.

Jeff

[bob carnie]

Hi Jeff

8 salt prints is a big day.

I have a setup that allows for constant production,,, the exposure time is about the same time as each clearing bath or wash bath so it all is timed based on the exposing unit.
Over 7 days I am including all the PS separation, film generation, film stripping. Today I start the layers, It kind of works out to be about 3 images a day if you do in stages.
I really like this way of working as like all of us here or most of us here this process is new and exciting and I am learning on every image.
One thing I found quite interesting which relates to the first question that comes out of any potential clients mouth is What Kind of Image works for this process.
I am delighted to find out that every image works in some way or another.

I am having some issues with dark evening with tons of pigment, I have to listen to Stephen Livik's words and not brush or agitate ... just let it happen as with these types
of image any brush work that I do so far immediately screws it up... Almost like to heavy a load of Pot Ferri when bleaching silver prints.

Bob

Good luck with that Bob. The most I've ever done in one day were 8 salt prints of one image, it almost killed me! I'm going to brew another pot of coffee and watch those two videos that I saw when I clicked on the link you provided. I enjoy watching photographers work in their particular alt (traditional) processes.

Jeff

[NedL]

Bob,
I watched those videos as soon as you posted them and enjoyed them very much. Thank you for making them and making them available.

FWIW, I've never made more than 1 salt print in a day. :)

[bob carnie]

Today I am coating pt pd - printing inkjet negatives- processing and talking to you folks, this is quite a nice way to work..

[Vaughn]

Eight or so alt prints in a printing session is probably my max, too. Pt or carbon. Definitely time to get horizontal after that!

Except my work flow used to be (this included silver printing in the old days):

Arrive at university darkroom at 8pm, get set-up for coating pt/pd (or sensitizing carbon tissue), get caught up helping students.
Finish coating by 10pm (two-hour drying time), help students, help lab assistants close darkroom at mid-night.
Start exposing at midnight (several UV light sources going at once)
Finish last exposure (30min to 2 hours each) so last prints can be developed and cleared and in the wash by 7am.
Tear down printing set-up at 7am (classes start at 8am), go into town for breakfast.
Return to college, hang up prints to dry and start my workday at 10am.
Work until 2pm, go home, short nap, then continue my day.
Get to bed at 'normal' time to keep my internal clock properly set.

Of course not each night was for printing. It took a night to pour carbon tissues (was 24 8x10s a night, then went to pouring nine 14x17s -- much faster!). Negative developing, matting, and all that stuff had to fit into that time, too.

Before kids I could do that 3 or four times a week. After kids, only once, perhaps twice a week. Now I am retired, building my own darkroom and have to figure out a whole new type of schedule. After 24 years of that schedule it is difficult to readjust!

[blindpig]

Hey Bob,
Sounds like you all are having fun,looking forward to seeing some of your images when finished.Don't think my wife would consider marathon printing a proper Valentines day present but you are a very lucky fellow.
Just checking,(I've had some computer problems,think they are resolved now)I tried to send you an e-mail as you suggested instead of PM message,did it come through?
Good luck with your printing session.
Don

[Erik Larsen]

From great sand dunes park, Medano creek. Single coat Gum over Pt/Pd print on Arches platine. 8x10 digineg. Forgive the iPhone snap please
146614

[bob carnie]

Very nice - what pigment are you using?

From great sand dunes park, Medano creek. Single coat Gum over Pt/Pd print on Arches platine. 8x10 digineg. Forgive the iPhone snap please
146614

[Erik Larsen]

Very nice - what pigment are you using?

Thanks Bob, the pigment used was Windsor Newton lamp black. One tube in 250ml of gum. It's just a shadow bump in this case.

[Tin Can]

From great sand dunes park, Medano creek. Single coat Gum over Pt/Pd print on Arches platine. 8x10 digineg. Forgive the iPhone snap please
146614

Your image has convinced me to learn this process. Great stuff even on Internet. Bob's latest video with Heather's demo of Gum over PP has shown me the way. Heather made it look simple.

Love your print.

[bob carnie]

Lamp black - do you mix it further down when you add the dichromate? or at the ratio of one tube to 250 ml.

also I imaging you are hand registering the negative, how are you adjusting for paper shrinkage?>

I use a low end negative for shadow bump.

Thanks Bob, the pigment used was Windsor Newton lamp black. One tube in 250ml of gum. It's just a shadow bump in this case.

[bob carnie]

That was Heather's first weekend of gum and palladium printing... here main area is cyanotypes.

Thanks Randy - the video is to show people that it's actually a very easy process... If you take your time, do each stage correctly - the turtle really beats the rabbit with this process.

Your image has convinced me to learn this process. Great stuff even on Internet. Bob's latest video with Heather's demo of Gum over PP has shown me the way. Heather made it look simple.

Love your print.

[Erik Larsen]

Your image has convinced me to learn this process. Great stuff even on Internet. Bob's latest video with Heather's demo of Gum over PP has shown me the way. Heather made it look simple.

Love your print.

Piece of cake Randy, give it a shot!

[Erik Larsen]

Lamp black - do you mix it further down when you add the dichromate? or at the ratio of one tube to 250 ml.

also I imaging you are hand registering the negative, how are you adjusting for paper shrinkage?>

I use a low end negative for shadow bump.

Bob, I add the 10% solution of pot dichromate to the pigmented gum at a 1/1 ratio when ready to coat the gum. My stock pigment solution is 1 tube lamp black in 250ml of gum. I might add a little umber or sienna to warm it a little more at time of coating.

I dry mount my paper to aluminum so no shrinkage involved

[bob carnie]

I take it you are using the same negative when exposing the lamp black


If so do you find any blocked up shadows ?
Bob, I add the 10% solution of pot dichromate to the pigmented gum at a 1/1 ratio when ready to coat the gum. My stock pigment solution is 1 tube lamp black in 250ml of gum. I might add a little umber or sienna to warm it a little more at time of coating.

I dry mount my paper to aluminum so no shrinkage involved

[Erik Larsen]

I take it you are using the same negative when exposing the lamp black


If so do you find any blocked up shadows ?

Yeah Bob, sometimes I get blocked shadows in the deepest darks if I go to far with the exposure. If I find it objectionable I just brush off the gum and reprint or start over.

[scheinfluger_77]

From great sand dunes park, Medano creek. Single coat Gum over Pt/Pd print on Arches platine. 8x10 digineg. Forgive the iPhone snap please
146614

I know that place, and find job you did of photographing it. Thanks for sharing.

[OMU]

Christin
Bromoil on liquide emulsion
Fomapan 200 @ 100 in Xtol
Gandolfi 8x10 reduktion back 4x5
Fujinon 1:6,7/250

http://oddmagneulvund.no/onewebstatic/def82ca195-Hjemmeside-Portretter%20med%20bromoil-Christin%20Lundh%202.jpg

http://oddmagneulvund.no/onewebstatic/7cbba2dca0-Hjemmeside-Portretter%20med%20bromoil-Christin%20Lundh.jpg

[bob carnie]

Here is a question for other gum enthusiasts


I am using Daniel Smith Blue Yellow and Magenta - I have been using mix ratio identical for all three. But I am finding a problem with the Blue being to overpowering.. As per Cristina Andersons excellent
book , I see she suggests a much more diluted pigment to gum for the blue pigments..

I am testing this right now , but I would like to hear any thoughts on this and if others are finding the blue to be problematic.

Also both Stephen Liviks notes and Christinas book recommend laying down Yellow- Magenta - and Cyan

I have done different order of pigment lay down dependent upon the main primary colours in my image, it seems to work but I would also like to hear other thoughts on this.

Also Erik-- every where I read lamp black is hard to lay down but you seem to have great results, as well I just saw a 4 colour gum video by Nick Vedos where he also uses black with no adverse effects.
thoughts??

[Erik Larsen]

Bob, you're going beyond my skill sets with the four color gum prints as I normally only do a single color to bump the shadows. As far as lamp black goes, I don't notice it applying any different than say sepia or umber or combinations of all three. I use a hot dog roller (dry) to apply the kdichro/gum pigment. I roll getting increasingly lighter in pressure as it spreads over the paper. I've tried hake and foam brushes as well but found I preferred the foam roller for a smoother coat. The others worked fine, I just liked the roller best.

As far as pigment concentration, I think the only answer is to do a few test of different pigment concentrations to find the right mix for the pigment used. I've found not all lamp blacks are the same. Some brands more heavily "black" than others. I've stuck with the Windsor Newton brand because it's what I can get locally.

Keep pushing the envelope so we can benefit from your successes and failures as you nail down the process!

[Denny]

Bob, I use Daniel Smith pigments, and find I have to dilute the yellow more than blue or magenta. I use a different curve for each color, and I often leave the blue layer in the wash an extra 10 minutes or so. When I use lamp black its for a 4th layer, and find I have to resize beforehand to avoid a color cast. Recently I'm finding I prefer 3 colors over Pt/Pd, skipping the 4th layer of lampblack. There are so many variables...

[bob carnie]

Hi Denny

well you are finding the exact opposite than me which is interesting.

I just redid my blue with a control strip and image and found I liked the larger gum ratio with less exposure on the blue. I am using the same curve for all three colours that is used for the palladium negative.
Yes the beauty is in the eye of the beholder.

repeatability is key and not getting over anxious and moving too fast.


Bob, I use Daniel Smith pigments, and find I have to dilute the yellow more than blue or magenta. I use a different curve for each color, and I often leave the blue layer in the wash an extra 10 minutes or so. When I use lamp black its for a 4th layer, and find I have to resize beforehand to avoid a color cast. Recently I'm finding I prefer 3 colors over Pt/Pd, skipping the 4th layer of lampblack. There are so many variables...

[Denny]

Bob, if you haven't already subscribed to the alt photo list I would really recommend it. There's a great group of alt practitioners that are always willing to help, with many expert gum printers including Chris. More info here:
https://mailman-mail5.webfaction.com/listinfo/alt-photo-process-list

[davehyams]

I think if you are linear on all of your CMY layers, order doesn't really matter too much. I shuffle the order depending on my registration system. Print CYM at a workshop or demo without a plate punch and if I am moving quickly in the lab, MYC or YMC if I am printing one offs or slowly at home. If there is a major difference I know one of my colors is out of wack or the pigment is not as translucent as it could be. These days everything looks pretty good. Printing Cyan first makes it really easy to visually register the next layers. Have a love hate relationship with the process, but there is nothing like a well printed gum print.

[bob carnie]

Hi Dave - I hear you have a new job, congrats.

I like printing the cyan first as well , I think I got caught with a bad pigment gum ratio and screwed up my workflow.Ruined about 10 prints with too heavy of a cyan layer which I could not
wash off.
But I am now building slowly up with the yellow and magenta which lately have been washing
off well then cyan for the final detail
In Toronto the water is much colder from the tap at different times of the year. We had a dip of about 2 weeks of - 20degree weather and like a fool I was not compensating with hot water as over time you get lazy with your position of the water temp position, and I was washing out with 65degree rather than 70 degree. makes a huge difference.
What I find is the cyan is the most dominant colour in my process and mixed with the yellow which produces the green which is funny enough most of what I have been printing lately.. landscapes with green.(cyan +yellow=green
I am not visually registering the layers but rather using mounted paper to aluminum. But I am even seeing the paper try to shrink with the overall winter humidity drop.

So how are you profiling you cmy layers? I am just separating the master file into cmy and doing a BW conversion for the palladium (black) printer.

when I get to the pictorico stage I apply the pt pd curve we have made for the platinum to all the film. are you doing it differently?

I am finding the garbage bin fills fast, but when I get a keeper I am really excited as yes there really is nothing like this type of print... I think what is most satisfying is the
fact that these prints have a huge potential to last for a very , very long time.

Bob


I think if you are linear on all of your CMY layers, order doesn't really matter too much. I shuffle the order depending on my registration system. Print CYM at a workshop or demo without a plate punch and if I am moving quickly in the lab, MYC or YMC if I am printing one offs or slowly at home. If there is a major difference I know one of my colors is out of wack or the pigment is not as translucent as it could be. These days everything looks pretty good. Printing Cyan first makes it really easy to visually register the next layers. Have a love hate relationship with the process, but there is nothing like a well printed gum print.

[bob carnie]

146937

Here is one of my solarization series- pd with cyan magenta separation negative.... This in fact was a mistake with the cyan too heavy as I explained above, but in this case since the whole image is
cyan other than the magenta hearts it worked. slight miss registration maybe caused by too much ink .
I think the pigment is still too heavy causing a rough looking texture but the originals are a lot like this even if I printed them with my inkjet printer on rag paper.

[bob carnie]

Daniel Smith Transparen Watercolour Ground

Has any one used this as a sizing material - I am going to play with this but would be interested in any thoughts.

[Mkillmer]

Albumen print
10x12 X-Ray negative.
Classic albumen on Canson Aquarelle
Double sided X-ray film seems to suit albumen process very well
Coated with a glass puddle pusher
(I've got to work out a better way to coat evenly!)
https://farm2.staticflickr.com/1662/24572881663_dab81e6b4e_z_d.jpg

[doogie]

146990

"Empyrean" ©2016 from Body of work "Light & Essence"
4x6 Pt/Pd print
Arches Platine
761
AC Dev/ EDTA clearing
I enjoy using a brush. The brush strokes are a favorite of mine.
Preliminary print for consideration of inclusion in Grad Show Gallery Exhibition

[davehyams]

Thanks Bob, I am printing a lot of color gum right now, so I just convert to multichannel and that splits the k layer into the CMY correctly. Each color is linearized individually, and the standard print times are different, because cyan is a stop faster than yellow and magenta with the pigments that I am using. I always develop in 75 degree F / 24 degree C water for 30 minutes, with no agitation except for a gentle hit with the hose at the end. end up using a lot of water in the winter, because our pipes cool off real quick when its not flowing. When I do CMY gum over platinum, I just make my platinum negative directly from the K layer in the CMYK file, no editing what so ever. I do all of my editing in the RGB file before I convert it to CMYK. This is how people print their platinum over inkjet prints also, and it keeps everything pretty linear. I mount all of my paper to aluminum also, and the larger prints definitely try to bend the substrate when they are dry, also have to be aware of bubbles on the big prints in the development stage. I have been trying to smooth out my tones in gum, and I think the thickness of the emulsion is one of the major culprits for grain in the print. One of the awesome things about gum printing is that everyone HAS to do it differently, as there are so many variables that cant be standardized between locations. give me a buzz if you want to bounce some ideas around about gum, I have been putting a lot of time into the process recently, and thinking about color carbon as well.

[Emil Schildt]

I really don't remember whether I have shown this before, but I can't find it so here it goes....

Painted with light - Negative killed - Liquid emulsion on a large wooden plate - hand coloured using everything from Cyanotype chemistry to silk colours and oil paint...

[Wayne]

I really don't remember whether I have shown this before, but I can't find it so here it goes....

Painted with light - Negative killed - Liquid emulsion on a large wooden plate - hand coloured using everything from Cyanotype chemistry to silk colours and oil paint...

So...archivally processed then? :D

Very nice!

[Emil Schildt]

Painted with light - negative manipulated - text added ("I dreamt my self a dream last night" in Runer) - liquid emulsion on a big wooden plate - toned and hand coloured...

[koraks]

I like these. A lot. A year ago I would have found them weird - I still do, but in a much better way. I hope you keep exploring!

[Emil Schildt]

I like these. A lot. A year ago I would have found them weird - I still do, but in a much better way. I hope you keep exploring!

I do...

What about this one: Painted with light - liquid emulsion on heavy paper - toned and then coloured using oil paint.... (mixed media?)

[t0aster]

I do...

What about this one: Painted with light - liquid emulsion on heavy paper - toned and then coloured using oil paint.... (mixed media?)


That's really quite fantastic, gandolfi!

[D-tach]

I do...

What about this one: Painted with light - liquid emulsion on heavy paper - toned and then coloured using oil paint.... (mixed media?)

Great!

[Emil Schildt]

That's really quite fantastic, gandolfi!

Thank you very very much!

[koraks]

Yes, that one is equally fascinating! I love these, keep them coming!

[Courtlux]

I used Foma photo-paper in my 5x7 camera. Exposing time 8 hours with f16. You see a very soft lime "negativ" on the paper. I scanned it and made a positive with lightroom. Next days I will try it again.You can see, that somebody moved one chair two times. I found nothing about this techniques in the internet. Is there no name of flickr-group ? I think when you make outside a picture exposing the hole day that you will see no shadows.
148064

[Andrew O'Neill]

So... what exactly did you do? No development?

[ckagy]

I used Foma photo-paper in my 5x7 camera. Exposing time 8 hours with f16. You see a very soft lime "negativ" on the paper. I scanned it and made a positive with lightroom. Next days I will try it again.You can see, that somebody moved one chair two times. I found nothing about this techniques in the internet. Is there no name of flickr-group ? I think when you make outside a picture exposing the hole day that you will see no shadows.
148064

I've heard these referred to as "retina prints." I'm not sure if there's a flickr group specifically for this.

-Chris

[Courtlux]

Yes, no development

[Wayne]

Its basically a lumen print with a lens. I've done 8x10 contact prints just using the sun and they look much the same.

[Tri Tran]

Title: Red Wood
Image size : 8x10
Carbon transfer contact print

http://imagizer.imageshack.us/v2/640x480q90/924/5fM6Za.jpg (https://imageshack.com/i/po5fM6Zaj)

[photojeff3200]

This was a difficult shooting day. I actually took this picture last year and tried to print it in salt to no avail. I was trying to trouble shoot issues out in the field with 1 model and 4 helpers looking on. Stressful when you're kneeling down in the dirt!
This is a wet plate negatives so of course everything went wrong that day. And a expensive day that was! The models hairdo alone was a whopping $120.00 (a very nice recreation of Tippy Hedren's hairdo from the Birds). After shooting 6 12x20 glass plates I still didn't get the image right due to fogging from a tiny light leak in the bellows. I thought it was over exposure and kept changing my exposure times. On the last plate, one of my helpers hit my camera with the reflector and caused the motion blur on the arm. But, it was the best image of the day. It wasn't until I started making Oil prints that I was able to resurrect this image. As all of you know, the paper image looks far better than the computer one. As a side note this is one of my favorite models (daughter of my wife's best friend) she was 12 at the time of this picture. And....those are fake birds that I bought on Amazon.

Wet Plate, 4.5 at 8 seconds
Rawlins Oil print on Arches watercolor paper
Cropped from 12x20 to 12x16

148333

[Ironage]

Here my latest cyanotype. It is the first print I've been able to make in my new location. Kodak 33a with a Kodak Ektar 203mm 7.7. HP5 souped in APH-09. I also used my new 5x7 B&K stainless steel tank, and learned its quirks. The reel has a top and bottom unlike regular stainless reels for smaller sizes. The bottom found the top and the film came out during processing. Some small scratches because of it.

149280

[Randy]

Lovely c-type. New or classic formula?

33a...I have had one a few years ago, sold it...regretted selling...bought another, sold it...and now regret selling it :(

I think 5X7 is an ideal size for contact printing.

[Ironage]

This is classic formula.

[mono]

Here my latest cyanotype. It is the first print I've been able to make in my new location. Kodak 33a with a Kodak Ektar 203mm 7.7. HP5 souped in APH-09. I also used my new 5x7 B&K stainless steel tank, and learned its quirks. The reel has a top and bottom unlike regular stainless reels for smaller sizes. The bottom found the top and the film came out during processing. Some small scratches because of it.

149280

Nice one!

I am starting with alternative processes and have problems with even coating!
How did you get such fine coating?

[Ironage]

I poor the mixed solution directly on the paper and then spread it out on the paper first back and forth and then up and down. Then I let it dry a bit and do it again with a second layer.


Sent from my iPod touch using Tapatalk

[Emil Schildt]

I poor the mixed solution directly on the paper and then spread it out on the paper first back and forth and then up and down. Then I let it dry a bit and do it again with a second layer.


Sent from my iPod touch using Tapatalk

interesting: I never ever make a second layer as it always just ruin the first one... I don't get that...

But Mono: I coat with "enough" chemistry (which actually is a tiny amount too much) I then let the paper STAND for about half a minute - then I soak up any excess chemistry that has formed in the bottom of the image - turn the image and let it dry still standing - that way I always get really even coating...

[Randy]

I use a dropper and apply drops in an evenly spaced pattern then spread with a foam brush. I know it takes about 30 drops to coat for an 8x10 neg.

I have done a second coat only once - didn't notice any difference in print density / quality.

[mono]

Ironage, Gandolfi and Randy,

thank you very much for your tips!
I´ll give my very best trying to put them into action ;-)

[Bob Mann]

Palladium print with Na2 -

149960

[scheinfluger_77]

Here my latest cyanotype. It is the first print I've been able to make in my new location. Kodak 33a with a Kodak Ektar 203mm 7.7. HP5 souped in APH-09. I also used my new 5x7 B&K stainless steel tank, and learned its quirks. The reel has a top and bottom unlike regular stainless reels for smaller sizes. The bottom found the top and the film came out during processing. Some small scratches because of it.

149280

I like how your shadow detail hasn't dropped down into heavy blue murk. Hi-key cyanotypes like this one really do it for me.

[Randy]

Weldon, NC

I thought I had posted this one previously but I can't find it in this thread - so - shot with Graflex Series D 4X5.
It came out a tad light so I penciled in some of the detail. I like how it turned out.

https://dl.dropboxusercontent.com/u/52893762/img671.jpg

[Vaughn]

Just posted this in April Portraits, but thought I would share this here. Image taken a week ago, printed yesterday. Something a little different for me.

With 5x7, 210mm lens on greatly out-dated FP4+ (still has the papers between the sheets!). Developed in HC-110 in 3005 Expert Drum.
Palladium with Na2 (a 5Fe, 5Pd, 1Na2 mix) on COT320, developed in Ammonium citrate. I was a little rough on the paper with the brush, but I had fun!

[pau3]

Already posted in other thread, but it also belongs to this one. A lot of defects and shameful poor scan
that does not make justice to the print. Gold toned kallitype on gampi paper.

https://farm8.staticflickr.com/7636/26705145662_b8284e123d_o.jpg (https://flic.kr/p/GFQRpU)Senyora H. (https://flic.kr/p/GFQRpU) by Pau Martín (https://www.flickr.com/photos/27566883@N06/), on Flickr

[Andrew O'Neill]

That's very nice, Pau. What does it look like untoned?

[pau3]

That's very nice, Pau. What does it look like untoned?
I am not sure. The toning step is made before fixing and changes a lot the image, which is rather thin after the clearing bath. The tones change again in the fixing bath.

From old test I recall that (my) untoned kallitypes had a warm brown tone, while the goldtones ones are chocolate brown.
The paper seems to have some impact on the tones.

Pau

Pau

[SergeiR]

8x10 film,

contact print on 9x12 140lb canson watercolor paper, selenium toned vandyke print.

https://farm8.staticflickr.com/7370/26816182286_5c7dcf85c4_c.jpg (https://flic.kr/p/GRDWJs)Selenium toned vandyke print (https://flic.kr/p/GRDWJs) by Sergei Rodionov (https://www.flickr.com/photos/sergeistudio/), on Flickr

[Rael]

I like the look. Very nice.

[Erik Larsen]

Two Medicine Lake. Gum over pt/pd on platine. 8x10 Efke 25 159 wolly velostigmat. Please forgive the iPhone reproduction
http://uploads.tapatalk-cdn.com/20160507/4b64f8fab6bffefb9525feffc07275b5.jpg

[koraks]

Erik, that's a gorgeous print!

[Erik Larsen]

Erik, that's a gorgeous print!

Thanks Koraks