post alternative techniques

[tgtaylor]

Good work Scott.

Thomas

[Scott Schroeder]

Ambrotypes 5.5X6"
http://schroederworks.com/Wetplate/Plants_002.jpg

http://schroederworks.com/Wetplate/Plants_003.jpg

[Jim Fitzgerald]

Scott, nice to see some close up's in this style. Refreshing and very nice.

Here are three more images from Bridalveil Creek shot when I was in the park during christmas week.

[Vaughn]

Looking good, Jim!

And you, too, Scott!

[jon.oman]

Scott, nice to see some close up's in this style. Refreshing and very nice.

Here are three more images from Bridalveil Creek shot when I was in the park during christmas week.

Jim,

Nice images!

Could you give some details on the film and camera?

[Jim Fitzgerald]

Jon, these were shot with my Seneca Improved 8x10, 19" Artar, on Efle-25 developed in Pyrocat-HD and printed in carbon transfer. Generally I'm shooting at F-45 or 64 and exposures are a couple of minutes or more. I had a giant reflector helping me with the light on these shots. I was in full shade and had El Capitan as my giant reflector! Hope this helps!

[Tri Tran]

Here are three more images from Bridalveil Creek shot when I was in the park during christmas week.

They are all nice Jim. I do enjoy this series of ice. Hope to see more.

[Vaughn]

I have shown this one before -- maybe twice. But Jim's reference to a giant reflector reminded me that this one also benefited from a similar thing in Yosemite.

An 8x10 platinum print...

[Jim Fitzgerald]

Vaughn, that is a beautiful print! Isn't that giant reflector a good thing!!!

[jon.oman]

Jon, these were shot with my Seneca Improved 8x10, 19" Artar, on Efle-25 developed in Pyrocat-HD and printed in carbon transfer. Generally I'm shooting at F-45 or 64 and exposures are a couple of minutes or more. I had a giant reflector helping me with the light on these shots. I was in full shade and had El Capitan as my giant reflector! Hope this helps!

Thanks for the information Jim!

[jnantz]

i waited and watched
the clouds, the wind, the trees
all but a memory in my mind

from my latest chemical free camera
the negative size is 4x8ish
no chemistry, just paper in a camera for a few hours

[taulen]

http://taulen.org/diverse/bilder/forum_bilder/kapp_tre_cyanotype_1_web2.jpg
My second cyanotype ever. Pretty pleased with it, haveto say it looks better in person tho. I'm going to try and tone it with some tea, and see what happens :P

[Vaughn]

My second cyanotype ever. Pretty pleased with it, haveto say it looks better in person tho. I'm going to try and tone it with some tea, and see what happens :P

Give toning a go, but this is one of the few images that the blue color fits so perfectly.

Well done!

[taulen]

Thank you Vaughn !
Here's the same image after some toning in tea. I'm not sure if I like it better. Different qualities.
http://taulen.org/diverse/bilder/forum_bilder/kapp_tre_cyanotype_tea-toned_1_web2.jpg

[austin granger]

Dead Tree, Blowing Sand, Cape York, Endeavour Rim, Mars
Imaging by Spirit on Sol 2804.

http://farm8.staticflickr.com/7034/6761547663_150fc7323a_b.jpg

http://www.flickr.com/photos/austingranger/

[austin granger]

Oh alright, it's not really Mars.

Deardorff Special with 4x5 back, Fujinon 250, Kodak Ektar 100 loaded backwards and overexposed three stops.

[Emil Schildt]

Thank you Vaughn !
Here's the same image after some toning in tea. I'm not sure if I like it better. Different qualities.
http://taulen.org/diverse/bilder/forum_bilder/kapp_tre_cyanotype_tea-toned_1_web2.jpg

I think it was because you didn't rinse the original long enough.. the yellowish hue to that tone would give the (too?) prominent brown in the highlights...

Next time do this: expose a little longer - then rinse to all the yellow is gone, and then tone.. (which tea?)

[taulen]

I think it was because you didn't rinse the original long enough.. the yellowish hue to that tone would give the (too?) prominent brown in the highlights...

Next time do this: expose a little longer - then rinse to all the yellow is gone, and then tone.. (which tea?)
Hey Emil,
Youre probably right about the rinsing.
I just bought a ranom tea :P
It says : Lipton tea Earl Grey (Asian black tea subtly flavored with bergamot).
Thank you.

[Emil Schildt]

Hey Emil,
Youre probably right about the rinsing.
I just bought a ranom tea :P
It says : Lipton tea Earl Grey (Asian black tea subtly flavored with bergamot).
Thank you.

try Rooibos tea! Fantastic as a toner!! (no flavour needed...:D )

[taulen]

Hah okey ;) Will see if I can get ahold of it =) thanks

austin granger:
Beautilful photo, but very scary looking... heh

[Vaughn]

Hah okey ;) Will see if I can get ahold of it =) thanks

But the Earl Grey smells so good! Too bad the smell washes out of the print.

The toning worked well! I still prefer the blue!

Vaughn

[tilberien]

Still Life - 8x10", exp. 16 minutes, Foma 100, Rodinal 1:200, dev. 30 minutes, Van Dyke

[csant]

Still Life - 8x10", exp. 16 minutes, Foma 100, Rodinal 1:200, dev. 30 minutes, Van Dyke

Beautiful. No better homage to Sudek could be done from a Czech photographer!

[tilberien]

Beautiful. No better homage to Sudek could be done from a Czech photographer!
Thanx, yes - Sudek's still-life is best.

[Jim Fitzgerald]

I'm going to post this image in a couple of places for all to see. I shot this with Jim Galli's 275 Ediscop F-8 lens that is really only half a lens. I'm glad I own this lens. This is also shot on x-ray film and printed in carbon.

[Hugo Zhang]

Hi Jim,

I like the glow and what size of negative, 8x10? I put my front element of that 150mm lens and it seems to cover 810 ground glass.

I need to take some pictures.

Hugo

[Jim Fitzgerald]

Hi Jim,

I like the glow and what size of negative, 8x10? I put my front element of that 150mm lens and it seems to cover 810 ground glass.

I need to take some pictures.

Hugo

Hugo, come on now you know I don't shoot anything smaller than 8x10! This is an 8x10 contact print. Yes, take some pictures!!

[Tri Tran]

Hugo, come on now you know I don't shoot anything smaller than 8x10! This is an 8x10 contact print. Yes, take some pictures!!

Nice tone and the so the glows. Don't blame on Hugo as we are getting older we forget the math .

[Hugo Zhang]

Tri，

Take the rear element of your Hermagis Eidoscope #2 and put the lens back to your 14x17 and you will love the reflected images on the ground glass. I tried this on my 16x20 an hour ago and it covered and it is very sharp when you stop down and lovely glow at wide open. :)

Hugo

[Jim Fitzgerald]

Tri，

Take the rear element of your Hermagis Eidoscope #2 and put the lens back to your 14x17 and you will love the reflected images on the ground glass. I tried this on my 16x20 an hour ago and it covered and it is very sharp when you stop down and lovely glow at wide open. :)

Hugo

See, I give ideas free of charge! I just need to find a bigger Edioscop!

[tgtaylor]

Flatiron. Oakland, Ca.

http://farm8.staticflickr.com/7164/6779715307_587bc724f9_z.jpg

Toyo 810G, 360mm Schneider Symmer-S, Delta 100 in Xtol, Stonehenge 90lb white. Printed as a Van Dyke.

Thomas

[Steve French]

Great Shot Thomas!! The tone of the photo and the symmetry of the trees in the foreground really adds a degree of drama to the composition.

[Jim Fitzgerald]

Here is the other set up of my previous post. Same Calla and same info.

[tgtaylor]

Great Shot Thomas!! The tone of the photo and the symmetry of the trees in the foreground really adds a degree of drama to the composition.

Thanks Steve!

I shot this last Sunday, the 22d, on a windy and rainy Sunday just before noon (had to get home in time to watch the playoffs). However the last 1 inch on the bottom of the negative was vigneted by the bellows which I cropped-out in the scan of the print. So I went back this afternoon at noon before Occupy Oakland got going and reshot it. Today, in contrast, was sunny and no wind and I shot it from the street up at f32.67 @ 1/15 sec as opposed to f22 @ 1/2 sec last weekend. I'm looking forward to developing the negative and printing it in several different syntaxes.

Thomas

[tgtaylor]

Here is the other set up of my previous post. Same Calla and same info.

Nice print Jim.

Thomas

[Jim Fitzgerald]

Thomas, thanks. Very nice Print that you have done as well. Holds the tones very nicely.

[Kirk Gittings]

Nice image Thomas.

[tgtaylor]

Thanks!

Thomas

[Steven Scanner]

As I mentioned earlier, I'm making a flatbed scanner camera.
I've finished it (for now) and it creates pictures like this:
http://i889.photobucket.com/albums/ac95/stevenlangewouters/Steampunk/outside.jpg
Lens: 8cm magnifying glass,
aperture: DIY mechanical iris,
film: flatbed scanner.
More info here:
http://www.largeformatphotography.info/forum/showthread.php?t=84761&page=2

A question for the alternative technicians: Is it possible to take pictures with all alternative materials and fluids, with the use of ordinairy household liquids? In other words, what would MacGiver do?

[csant]

A question for the alternative technicians: Is it possible to take pictures with all alternative materials and fluids, with the use of ordinairy household liquids? In other words, what would MacGiver do?

Anthotypes require little more than… flowers.

[mdm]

New book out on anthotypes.
http://www.alternativephotography.com/wp/processes/anthotypes/anthotypes

[Steven Scanner]

I'm going to look into anthotypes. Seems to be as alternative as you can get.

[csant]

Platinum print. 8x10, Verito.


http://farm8.staticflickr.com/7024/6795502959_1158822e33_z.jpg (http://www.flickr.com/photos/csant/6795502959/)

Larger image and more info over at Flickr (http://www.flickr.com/photos/csant/6795502959/).

[csant]

Gum over platinum. 8x10, Verito.


http://farm8.staticflickr.com/7154/6805681591_bbed5df8f5_z.jpg (http://www.flickr.com/photos/csant/6805681591/)

Larger image and more info over at Flickr (http://www.flickr.com/photos/csant/6805681591/).

[Steven Scanner]

Nice pictures, Csant. The first one seems to be a bit shifted or out of focus. Deep dark eyes.

My pictures, alternative technique: DIY camera, 8cm magnifying glass for lens, flatbed scanner.
http://i889.photobucket.com/albums/ac95/stevenlangewouters/Steampunk/schatje4.jpg

http://i889.photobucket.com/albums/ac95/stevenlangewouters/Steampunk/schatje5.jpg

[jon.oman]

Nice pictures, Csant. The first one seems to be a bit shifted or out of focus. Deep dark eyes.

My pictures, alternative technique: DIY camera, 8cm magnifying glass for lens, flatbed scanner.


This is interesting, how did you achieve the double exposure technique?

[tgtaylor]

Flatiron #2

http://farm8.staticflickr.com/7174/6810110513_b43509d037_z.jpg

Second try. (I'm getting there, I believe!)

Toyo 810G, Delta 100, Schneider 360mm.

Thomas

[mdm]

Thats so good.

[tgtaylor]

Thanks mdm. I'm not there yet but soon (I think).

Thomas

[Vaughn]

Flatiron #2 Second try. (I'm getting there, I believe!)...Thomas

Yes you are!

[Leigh]

Except your original image has disappeared, so it's hard to compare the two.

- Leigh

[Vaughn]

Except your original image has disappeared, so it's hard to compare the two.

- Leigh

http://www.largeformatphotography.info/forum/showpost.php?p=839258&postcount=1281

[Leigh]

Vaugn...

Did you actually try that link?

It comes up with the standard flckr nonsense "This photo is currently unavailable".

- Leigh

[tgtaylor]

Thanks Vaughn!

Leigh,

I deleted it when I uploaded the new one (#2). Apparently the old one is still in Vaughn's and my cache.

Thomas

[Steven Scanner]

This is interesting, how did you achieve the double exposure technique?

Ah, in a way it's a single exposure. I used a regular flatbed scanner instead of film. A scanner scans from side to side, taking strips of pictures and combines them into one picture. Just like when you slowly remove a paper from a copying machine as it is making a copy.
Info about the scanner camera here:
http://www.largeformatphotography.info/forum/showthread.php?t=84761

[csant]

Nice pictures, Csant. The first one seems to be a bit shifted or out of focus. Deep dark eyes.

Thank you Steven - these are approx 2 minute exposures… The girl was fantastic at not moving! ;) (and in the first one she did, a tiny little bit…) She does have beautiful deep dark eyes!

Funny experiments with the scanner, I love how you use the scanner's potential to construct your images!

Thomas, I like both the first and the second try!

[Vaughn]

Vaugn...

Did you actually try that link?

It comes up with the standard flckr nonsense "This photo is currently unavailable".

- Leigh

Must still be in my cache still -- the link still takes me to his first image.

[Leigh]

Yep... probably cached.

Try refreshing the page and see if it's still there.

- Leigh

[Vaughn]

I even restarted my computer, and on a different computer and I still see it via the link -- I must be magical!

Vaughn

[jon.oman]

Ah, in a way it's a single exposure. I used a regular flatbed scanner instead of film. A scanner scans from side to side, taking strips of pictures and combines them into one picture. Just like when you slowly remove a paper from a copying machine as it is making a copy.
Info about the scanner camera here:
http://www.largeformatphotography.info/forum/showthread.php?t=84761

So you moved half way into the scan?

[Steven Scanner]

So you moved half way into the scan?

You are right. I can see the light of the scanner pass by thrue the lens. Actually, I see it twice, ones for each eye. That's when I move into another pose. Depending on my DPI, the scan is faster or slower. Low DPI, fast scan. High DPI, slow scan.

[Leigh]

I even restarted my computer, and on a different computer and I still see it via the link -- I must be magical!
Hi Vaughn,

I don't know... can't explain it. I just refreshed the page and the first Flatiron image is still missing with that flickr note.

It's possible there's an upstream cache in operation on your ISP. That's certainly not true here, since I'm on Verizon.

Perhaps it's related to the high security implemented on this computer.

- Leigh

[csant]

Platinum print on Kozo paper.


http://farm8.staticflickr.com/7175/6821813385_6e7a36da73_z.jpg (http://www.flickr.com/photos/csant/6821813385/)

More details and large image over at Flickr (http://www.flickr.com/photos/csant/6821813385/).

[csant]

More from my garden…

Platinum print on Kozo paper.


http://farm8.staticflickr.com/7011/6829668685_dd3f16b895_z.jpg (http://www.flickr.com/photos/csant/6829668685/)

More details and larger image over at Flickr (http://www.flickr.com/photos/csant/6829668685/).

[Steven Scanner]

Anthotypes require little more than… flowers.

I'm trying to find more info about anthotype and physautotype. The latter has been pointed out by someone on another forum. I've got an anthotype experiment going on right now, but I think due to the lack of sunlight I have to wait untill summer.
(more info about my anthotype experiment here: http://www.largeformatphotography.info/forum/showthread.php?t=86490)

Physautotype is probably my next step. I have to look into that first.
I'm willing to make the compromise in shutter time. For me (for now) it's acceptable to have a day/week/month long shutter time. My homemade camera has got a 80mm diameter lens and focal distance of about 250mm. Plenty of light shining on the ground plate.

I understand that both anthotype and physautotype are not ment to be used as photosensitive plates/sheets directly in a camera. It was used for contact printing. What I'm looking for is a way to take a photograph without the use of exotic chemicals. Suggestions are welcome.

[Peter Mounier]

I even restarted my computer, and on a different computer and I still see it via the link -- I must be magical!

Vaughn

Sometimes I have to hold the "option" key (on a mac) down while refreshing for it to refresh.

Peter

[Vaughn]

More from my garden…Platinum print on Kozo paper.

I like this very much beautiful simplicity. The texyure of the paper seems to part of the image.

Vaughn

Peter -- I'll give it a try

[csant]

I like this very much beautiful simplicity. The texyure of the paper seems to part of the image.

Thank you, Vaughn! The paper is really shine-through thin… When wet, handling it is a nightmare… But once dry, it is of very special beauty…

[Vaughn]

Please excuse my bad typing skills and lack of decent sentence structure!

But do you attach the Kozo to any other substrate to make it easier to handle when wet?

Vaughn

[csant]

But do you attach the Kozo to any other substrate to make it easier to handle when wet?

No, it's just a roughly 9x11" sheet of thin paper, freely floating… I have had a tear or two at the edges, happens usually in the very end, after washing, when trying to lift it out of the water to place it on a drying screen… I should maybe experiment with a sheet of glass slipped under it…

[tgtaylor]

Latest attempt:

Flatiron #3, Oakland, CA.

http://farm8.staticflickr.com/7046/6850173815_0bd70343bb_z.jpg

Vandyke momentarily toned in selenium.

Thomas

[Steve French]

Looks great Thomas. I thing you nailed it!!

[Jim Cole]

Latest attempt:

Flatiron #3, Oakland, CA.

Vandyke momentarily toned in selenium.

Thomas

Wonderful! I agree with Steve and think "you nailed it".

[DarkroomDan]

No, it's just a roughly 9x11" sheet of thin paper, freely floating… I have had a tear or two at the edges, happens usually in the very end, after washing, when trying to lift it out of the water to place it on a drying screen… I should maybe experiment with a sheet of glass slipped under it…

Instead of glass, I use a sheet of material I bought at a fabrics store. I don't remember what its intended purpose was - something such as needlepoint I think. It is flexible plastic and has holes in it. It looks something like window screen only heavier and the holes are larger. When using delicate papers, I put it in the first tray and then transfer it and the paper tray to tray. It works well.

Dan

[tgtaylor]

Thanks Steve and Jim! Your comments are appreciated.

Thomas

[csant]

Yet more from my garden… Platinum print on Kozo paper.

With the added bonus of a link to an interview with me (http://craft-duck.blogspot.com/2012/02/un-altro-sguardo-claudio-santambrogio.html) - alas in Italian only, but the internet has tools to aid!


http://farm8.staticflickr.com/7152/6829668691_a77f368cf2_z.jpg (http://www.flickr.com/photos/csant/6829668691/)

More info and larger image, as usual, over at Flickr (http://www.flickr.com/photos/csant/6829668691/).

[Emil Schildt]

Sometimes it is difficult to decide what thread to put an image.... this case the portrait or this thread...

But as this is "my" thread I'll do it here:

Just made a rather big portrait of my late father. (approx 20x28").
I chose to make it as a "messy" bromoil version.

He was a priest - and knighted by our Queen. He was so peoud of that order, so that's my reason to portray him like this.
Looking stern - wasn't... rather distant.

Pol 665

http://www.apug.org/gallery1/files/4/8/8/7/far2.jpg

[chassis]

Excellent image, and wonderful tribute to your father, gandolfi.

[Jim Cole]

Sometimes it is difficult to decide what thread to put an image.... this case the portrait or this thread...

But as this is "my" thread I'll do it here:

Just made a rather big portrait of my late father. (approx 20x28").
I chose to make it as a "messy" bromoil version.

He was a priest - and knighted by our Queen. He was so peoud of that order, so that's my reason to portray him like this.
Looking stern - wasn't... rather distant.

Pol 665



Gandolfi,

Just superb!!!

[Peter van Rychvald]

http://fc08.deviantart.net/fs71/f/2011/346/2/e/lgc_alfa_by_hypnogen-d4ixbtf.jpg

WPC, Globica 13x18, contact print

[Zaitz]

gandolfi I love your work. Tremendously unique and inspiring.

[Erik Larsen]

Sometimes it is difficult to decide what thread to put an image.... this case the portrait or this thread...

But as this is "my" thread I'll do it here:

Just made a rather big portrait of my late father. (approx 20x28").
I chose to make it as a "messy" bromoil version.

He was a priest - and knighted by our Queen. He was so peoud of that order, so that's my reason to portray him like this.
Looking stern - wasn't... rather distant.

Pol 665

http://www.apug.org/gallery1/files/4/8/8/7/far2.jpg

Very Nice Gandolfi. Royalty in our midst:) A wonderful tribute I think.
regards
erik

[Erik Larsen]

Wasting away another weekend in the darkroom:) This is a pt/pd print on a heavily wavy textured Hahnemuhle Torchon watercolor paper.
regards
erik

[andreios]

He was a priest - and knighted by our Queen. He was so peoud of that order, so that's my reason to portray him like this.
Looking stern - wasn't... rather distant.

Pol 665



Emil, this is a great picture and a wonderful tribute to a Father...

[Mark Sawyer]

A wonderful, meaningful image, Emil. It's always special when technique and vision combine with something from the heart.

[Emil Schildt]

A wonderful, meaningful image, Emil. It's always special when technique and vision combine with something from the heart.

thanks all. It means a lot.

[Petzval Paul]

Emil, That is just beautiful! Perfect in every way!

[Vaughn]

A recent carbon print.
4x10 negative

Deer, Redwood Creek, 2010
Redwood National Park

[GSX4]

Here's my contribution its my first silver gelatin print made from a wet plate collodion glass negative. I double exposed the glass plate, and developed for twice as long as I would for a tintype. Contact printed onto FOMA 123 Variant paper, developed in Ilford MG, Lightly bleachedback, lightly sepia toned, and finished in selenium. It's a 4.5"x4.5" square negative size.... Not super large, but it has more real estate than a 4x5 neg so is still large format.

[Craig Tuffin]

Here's my contribution its my first silver gelatin print made from a wet plate collodion glass negative. I double exposed the glass plate, and developed for twice as long as I would for a tintype. Contact printed onto FOMA 123 Variant paper, developed in Ilford MG, Lightly bleachedback, lightly sepia toned, and finished in selenium. It's a 4.5"x4.5" square negative size.... Not super large, but it has more real estate than a 4x5 neg so is still large format.

Looks great Andrew!

What do you mean by double exposing your glass plate...are you using strobes or did you just double the exposure time? You don't experience any fogging due to the longer development time? Selenium toning is a good idea, it substantially improves the dmax.

[GSX4]

Craig, for a clear glass ambrotype, i would just leave exposure the same as a tintype, and backmthe plate withblack velvet. For printing, you need more density... Remember, angood tintype makes a bad negative, and a good negative makes a poor tintype. A positive image is actually underexposed in wet plate. To get a neg, youmdouble, even triple the exposure in some instances. Then develop for longer. You are right, a tintype or clear glass positive would have fog.mfor a neg you want to print, you need more density, more so with platinum, or salt prints that would normally mean your negs would also needto be intensified.mhope that helps?




Looks great Andrew!

What do you mean by double exposing your glass plate...are you using strobes or did you just double the exposure time? You don't experience any fogging due to the longer development time? Selenium toning is a good idea, it substantially improves the dmax.

[Erik Larsen]

A recent carbon print.
4x10 negative

Deer, Redwood Creek, 2010
Redwood National Park

I like this Vaughn, I can't see any deer on my phone's screen... am I blind?
regards
erik

[Erik Larsen]

Here's my contribution its my first silver gelatin print made from a wet plate collodion glass negative. I double exposed the glass plate, and developed for twice as long as I would for a tintype. Contact printed onto FOMA 123 Variant paper, developed in Ilford MG, Lightly bleachedback, lightly sepia toned, and finished in selenium. It's a 4.5"x4.5" square negative size.... Not super large, but it has more real estate than a 4x5 neg so is still large format.

Very cool Andrew! You wet plate guys have too much time on your hands:) Is the bug lying on a piece of fabric or are the deckled edges from pouring the plate? inquiring minds want to know.
regards
Erik

[Erik Larsen]

Here's a photo from Montana. 11x14 efke 100 printed in platinum on stonehedge paper.
regards
erik

[Vaughn]

I like this Vaughn, I can't see any deer on my phone's screen... am I blind?
regards
erik

Thanks! No, you are not blind -- they are hard enough to see on a home computer, let alone a phone! LOL!

One deer to the left and two to the right of the wood sticking up out of the water on the left (a young buck and a couple of gals). They are lying down on the far shore. A friend and a couple of his grandchildren were backpacking (camping where I took the photo) down at the Tall Trees Grove for a couple nights. I hiked in with the 8x10 to join them just for the day.

[Craig Tuffin]

Craig, for a clear glass ambrotype, i would just leave exposure the same as a tintype, and backmthe plate withblack velvet. For printing, you need more density... Remember, angood tintype makes a bad negative, and a good negative makes a poor tintype. A positive image is actually underexposed in wet plate. To get a neg, youmdouble, even triple the exposure in some instances. Then develop for longer. You are right, a tintype or clear glass positive would have fog.mfor a neg you want to print, you need more density, more so with platinum, or salt prints that would normally mean your negs would also needto be intensified.mhope that helps?

I nearly double my exposure time for negatives and use a different negative formula, but I suppose I was just curious about the use of the words 'double exposed'. I've been shooting with strobes with wet plate lately and was wondering whether it was a 'double pop'. I didn't realize you meant simply doubling the exposure time. I also find that I still maintain about the same development time for negs as for positives. If I extend development too much I sometimes get a fog from overdevelopment, not over exposure. You're exposure and development seems perfect though.

I also find that when I correctly expose, I never redevelop or intensify...too much room for error (I hate room for error :p ). If I underexpose, I'll just reshoot with a more appropriate exposure time (I tend to overexpose and underdevelop anyway I think).

I should have worded my questions a bit better.

A very nice print...I'd like to see some of your salt prints sometime.

[andreios]

Erik, that is a beautiful, beautiful image...

[Zaitz]

Excellent print Erik!

[csant]

Here's a photo from Montana. 11x14 efke 100 printed in platinum on stonehedge paper.

Did you tone this print, or is the paper somehow tinted? It's a very beautiful warm tonality…

[Erik Larsen]

Did you tone this print, or is the paper somehow tinted? It's a very beautiful warm tonality…

Thanks Andreios, Zaitz and Csant, I appreciate it! Csant, the paper is on the yellow side of white and the print is pretty neutral. It could be my scanner?
Regards
Erik

[Erik Larsen]

One of my favorite lunch break spots near Moab along the Colorado River. 11x14 efke pl100 palladiium toned kallitype on stonehedge paper.
regards
erik

[tgtaylor]

Here's my latest and to date greatest print of this negative:

http://farm8.staticflickr.com/7064/6903614767_02b9876d96_z.jpg

Kallitype Brown Print (Van Dyke), Fabriano Aristico. It looks a little lop-sided because the paper is too large for my scanner bed (epson 3200).

Thomas

[Erik Larsen]

Here's my latest and to date greatest print of this negative:

http://farm8.staticflickr.com/7064/6903614767_02b9876d96_z.jpg

Kallitype Brown Print (Van Dyke), Fabriano Aristico. It looks a little lop-sided because the paper is too large for my scanner bed (epson 3200).

Thomas

I like it Thomas, practice makes perfect I guess:). Are you toning in any way or is this the natural look of the developer? I sometimes love the look of an un toned kallitype but worry perhaps unnecessarily about deterioration over time of the print.
Regards
Erik

[tgtaylor]

I like it Thomas, practice makes perfect I guess:). Are you toning in any way or is this the natural look of the developer? I sometimes love the look of an un toned kallitype but worry perhaps unnecessarily about deterioration over time of the print.
Regards
Erik

Thanks Erik.

Practice does make perfect. In this case I discovered that I get consistent results from one print to the next by swirling the sensitizer before pouring enough to coat one sheet and pouring any remainder back in the bottle. I believe that procedure keeps the heavy metals dispersed in solution rather than sinking to the bottom of the container between pours.

I did not tone the above print and believe that the slight pinkish/red brown coloration is the natural color of the Van Dyke after developing and fixing. During exposure you can watch the tree limbs as well as the oncovered coated edges turn a chocolate brown after a minute or so but that is not the resulting coloration upon development. I have read that toning in selenium changes the red browns to a chocolate brown but in my limited experience toning with selenium before fixing rapidly bleaches the image. Maybe selenium tone after fixing? I do plan on gold toning and/or Palladium in the future.

Finally, I tried several different 140-lb HP papers with this batch and got the better results with FA. Lanaquraelle gave a stronger coloration but weaker Dmax.

Thomas

[Roger Cole]

Sometimes it is difficult to decide what thread to put an image.... this case the portrait or this thread...

But as this is "my" thread I'll do it here:

Just made a rather big portrait of my late father. (approx 20x28").
I chose to make it as a "messy" bromoil version.

He was a priest - and knighted by our Queen. He was so peoud of that order, so that's my reason to portray him like this.
Looking stern - wasn't... rather distant.

Pol 665

...




Gandolfi,

Just superb!!!


gandolfi I love your work. Tremendously unique and inspiring.


Very Nice Gandolfi. Royalty in our midst:) A wonderful tribute I think.
regards
erik


Emil, this is a great picture and a wonderful tribute to a Father...


A wonderful, meaningful image, Emil. It's always special when technique and vision combine with something from the heart.


Emil, That is just beautiful! Perfect in every way!

+7! (Had to count.)

Wonderful portrait and tribute.

[Roger Cole]

Wasting away another weekend in the darkroom:) This is a pt/pd print on a heavily wavy textured Hahnemuhle Torchon watercolor paper.
regards
erik

All three you've posted in the past couple of pages are excellent, Erik. I think this is my favorite, mainly because the texture of the paper comes through in the sky on my computer monitor. Another could well be my favorite in person.

I hadn't been to this thread in a long while, and then hadn't looked through it as careful as it clearly deserves. There is a lot of excellent, beautiful work here.

[Roger Cole]

Thanks! No, you are not blind -- they are hard enough to see on a home computer, let alone a phone! LOL!

One deer to the left and two to the right of the wood sticking up out of the water on the left (a young buck and a couple of gals). They are lying down on the far shore. A friend and a couple of his grandchildren were backpacking (camping where I took the photo) down at the Tall Trees Grove for a couple nights. I hiked in with the 8x10 to join them just for the day.

I can make them out, just, on my 19" computer monitor. Really nice image. I'm sure it would be quite impressive viewing the actual print.

[Erik Larsen]

Thanks Erik.

Practice does make perfect. In this case I discovered that I get consistent results from one print to the next by swirling the sensitizer before pouring enough to coat one sheet and pouring any remainder back in the bottle. I believe that procedure keeps the heavy metals dispersed in solution rather than sinking to the bottom of the container between pours.

I did not tone the above print and believe that the slight pinkish/red brown coloration is the natural color of the Van Dyke after developing and fixing. During exposure you can watch the tree limbs as well as the oncovered coated edges turn a chocolate brown after a minute or so but that is not the resulting coloration upon development. I have read that toning in selenium changes the red browns to a chocolate brown but in my limited experience toning with selenium before fixing rapidly bleaches the image. Maybe selenium tone after fixing? I do plan on gold toning and/or Palladium in the future.

Finally, I tried several different 140-lb HP papers with this batch and got the better results with FA. Lanaquraelle gave a stronger coloration but weaker Dmax.

Thomas

Thomas, I've had horrible success with selenium toning kallitypes, staining very badly. I've only tried it after fixing and washing but not before fixing like I do with pt/pd toning so I gave up on selenium toning. I like the lanaquarelle too but it was hard to clear with my methods compared to FA or stonehenge or some hahnemuhle papers I've tried. I don't mix the silver nitrate and FO together, they are only mixed together with a syringe for each solution right before coating. Does it make a difference, I don't know? Keep experimenting and sharing the results, it's useful imo.
regards
erik

[Erik Larsen]

All three you've posted in the past couple of pages are excellent, Erik. I think this is my favorite, mainly because the texture of the paper comes through in the sky on my computer monitor. Another could well be my favorite in person.

I hadn't been to this thread in a long while, and then hadn't looked through it as careful as it clearly deserves. There is a lot of excellent, beautiful work here.

Thanks Roger for the nice comments!
regards
erik

[Erik Larsen]

68565I'm running out of pt/pd and am feeling cheap so here's as close as I could come to this image in platinum:) It is an 11x14 edu ultra printed as kallitype on 300lb lanaquarelle toned in platinum. From Professor Valley in Utah.
regards
erik

[tgtaylor]

I don't mix the silver nitrate and FO together, they are only mixed together with a syringe for each solution right before coating. Does it make a difference, I don't know? Keep experimenting and sharing the results, it's useful imo.
regards
erik

I've been using the formulas published in the Crawford and James books. Both formulas, which are identical, call for preparing 3 separate solutions in which A is added to B and AB added to C. James says to let the resultant age a couple of days before use while Crawford is silent on aging before usage. But both say the the solution can be stored for several months as long as it is not exposed to any bright (UV) light. Stevens, on the other hand, calls for 2 solutions that contain the same the same chemicals as Crawford and James but in different amounts (e.g., 10 gm ferric ammonium citrate/100 mL water in a resulting formula volume of 200mL vs 9 gm in a 100mL resulting volume). Stevens also adds A to B immediately before use and says that the resultant AB does not keep for more than a few days.

I am at a point where the coating, exposing and processing steps are mechanical and i can expect consistent results on different days and atmospheric conditions. The next step for me is to play with the formulas to manipulate the coloration obtainable with the process.

Thomas

[tgtaylor]

Found myself with a little free time this afternoon which I put to use by printing Flatiron as a Cyanotype on 140-Lb Fabriano Aristico:

http://farm8.staticflickr.com/7047/6924669591_51b8283a32_z.jpg

Exposure was 15 minutes in the sun followed by 7 minutes in the shade and another 15 minutes in the sun. I think it could use another 5 minutes in the sun and will try this when another opportunity presents itself.

Thomas

PS: The problem with scanning is that once you put the print on the scanner bed you concentrate on the computer screen rather than the actual print. So I darkened it somewhat in PS which I thought would improve the image but alas the actual print is superior as the shadows on the left side of the building and down the street are open "just right." Further exposure in the sun would only close them up and not improve the image in any other discernable way. So a 30-minute exposure was the correct choice. The lesson learned from this is to always have either the original or another print of the same image in your hand to judge when scanning into PS.

The Cytanotype is a beautiful (and archival) process. If you haven't tried it it's worth the effort which is minimal.

[Pete Watkins]

Thomas,
That's great. I'm slowly getting into Cyanotypes and I've never seen an archetectrial cyanotype before. I'm inspired.
Pete.

[Ken Lee]

http://www.kenleegallery.com/images/forum/CarbonBarn.jpg
Massachusetts, 2003
Carbon Transfer Print

One of my first Carbon Transfer prints, made under the tutelage of Sandy King.
I confess to deriving a certain pleasure in being able to leave this print out in the sun.

[Craig Tuffin]

Very, very nice Ken!

[Brian Ellis]

Beautiful print Ken.

[tgtaylor]

Thanks Pete!

I looked at the print when I got-up this morning and it looks better! I think it darkened slightly overnight.

Thomas

[Pete Watkins]

Thomas,
Mine definately darkened in the first few days after printing them. It's this sort of think that makes the process so different.
Pete.

[Pete Watkins]

Double post, sorry.

[Jay DeFehr]

One of my first Carbon Transfer prints, made under the tutelage of Sandy King.
I confess to deriving a certain pleasure in being able to leave this print out in the sun.

Looks great, Ken! I love the image color.

[mdm]

Pretty impressive Ken. Put that Nikkor M to work. Very few of your landscapes seem to have a paper white in them which makes them ideal for carbon.

[Erik Larsen]

http://www.kenleegallery.com/images/forum/CarbonBarn.jpg
Massachusetts, 2003
Carbon Transfer Print

One of my first Carbon Transfer prints, made under the tutelage of Sandy King.
I confess to deriving a certain pleasure in being able to leave this print out in the sun.

Excellent Ken, this photo has the potential for all kinds of relief. For one of your first prints it is impressive.
regards
Erik

[Ken Lee]

Thank you. That one was made with a 400mm Fujinon T on 4x5, and the print was made with a digital negative.

Most importantly, I had some big-time help making the print.

[Erik Larsen]

This is an 11x14 kallitype printed on 300lb lanaquarelle. Lake St. Mary in Glacier NP in Montana.
regards
Erik

[csant]

Verito, 8x10. Gum over platinum.


http://farm8.staticflickr.com/7183/6792401450_ff596d179c_z.jpg (http://www.flickr.com/photos/csant/6792401450/)

Larger image and some more details over at Flickr (http://www.flickr.com/photos/csant/6792401450/).

[Vaughn]

Ken, congrats on your results! For anyone who is interested in hand-made prints, but still interested in the sharpness and feel of silver gelatin, carbon is hard to beat!

Thomas -- cyanotypes will darken after drying due to the oxidation of the iron compound. One can hurry up the darkening by a short bath in dilute Hydrogen peroxide, but the Hydrogen peroxide will not make the print any darker than it eventually will get. A bath of dilute Ammonium (or Potassium) dichromate will significantly boost the intensity of the print, but it is a rather nasty chemical to dispose of properly.

Vaughn

[tgtaylor]

Thanks Vaughn.

I've read about hydrogen peroxide initially darkening the print to its final value but I have never tried it. I have been using Dick Sullivan's formula as set out in the James book (substituting potassium dichromate for ammonium dichromate but instead using the actual weight for substitution instead of the more correct molar weight) and have not noticed a significant darkening upon drying. Upon examining the dry print on two successive mornings after printing my immediate reaction was the the print quality had "improved" which I attributed to a slight and very subtle darkening which may, perhaps, be illusionary on my part. But it did appear "better" to my eye.

Thomas

[Dan Dozer]

Put this over on the other site a week or so ago. One of my first attempts at Mordancage. 69325

[csant]

Another gum over platinum, from our January session.


http://farm8.staticflickr.com/7199/6945927761_9339695936_z.jpg (http://www.flickr.com/photos/csant/6945927761/)

More info and larger image over at Flickr (http://www.flickr.com/photos/csant/6945927761/).

[Emil Schildt]

Dan - I love that mordancage... never tried it, but would like to...

Here's an oldie...

"Are you coming?"....

Kala - cuanotype - bleached with added coffee

cropped 18x24cm neg - Gandolfi 10x8

http://www.apug.org/gallery1/files/4/8/8/7/kommer-du.jpg

[Jim Fitzgerald]

Emil, I love this shot and how creative you always are. bravo!

Here is an image shot from Tunnel View on a special morning. A very difficult carbon print to make. I'm going to still work on it a bit I think.

[Hugo Zhang]

Hi Jim,

Love this picture! I guess I have to go to Yosemite more often to increase my chance to capture somehting like that.

Hugo

[Vaughn]

...Here is an image shot from Tunnel View on a special morning. A very difficult carbon print to make. I'm going to still work on it a bit I think.

It looks pretty sweet. I have wondered about those UV curing lights the dentist uses to cure the new coating and fillings on one's teeth. Depending on the wavelengths of UV those lights put out, I think they may make nifty burning tools for carbon printing!

I like that the image is "backwards". It gives that traditional view a twist.

[Jim Fitzgerald]

It looks pretty sweet. I have wondered about those UV curing lights the dentist uses to cure the new coating and fillings on one's teeth. Depending on the wavelengths of UV those lights put out, I think they may make nifty burning tools for carbon printing!

I like that the image is "backwards". It gives that traditional view a twist.

Vaughn and Hugo thanks. This is a tough print to make. This was my first print. Still need to work on the sky clearing out all of the pigment. I printed this on a mat paper to give it the "feel" that it needed. I love that it is backwards as well! It makes one question the image?

[Leigh]

Here is an image shot from Tunnel View on a special morning.
That's a lovely shot, Jim. Thanks for sharing.

- Leigh

[Vaughn]

Jim, I have an 8x10 carbon print with Yosemite Falls in the background, Japanese tourists taking a snapshot in the foreground, and an interpretive sign proclaiming Yosemite falls to be the "Crowning Glory" of the Park. The sign takes good eyesight or a magnifier to read, and since it is backwards it gives the viewer a clue on why the Falls looked just a little different, too. :D

A couple images I have with El Capitian as the background would have some climbers shaking their heads, but most people would need a side-by-side comparison to pick up on the carbon prints being "backwards".

Vaughn

[Jim Cole]

Here is an image shot from Tunnel View on a special morning. A very difficult carbon print to make. I'm going to still work on it a bit I think.

This is a wonderful image, Jim. I was instantly transported back to the late 1800s. This has a very real presence. Bravo. If you can print it better, I'd love to see it!

[mdm]

http://1.bp.blogspot.com/-tB43obLoBnA/T16pug9abQI/AAAAAAAABEY/mfq3YxPbM9g/s1600/tractorfabriano.jpg

Carbon transfer on rod sized Hot Pressed Fabriano. 6.25x9 inches. 49g FAS Indian ink + 1g Mixol brown / liter glop.

[Jim Fitzgerald]

Thanks everyone. I'm having trouble clearing the pigment from the highlights in this shot. Just need to do some refinements and try again.

[csant]

Platinum on linen paper.


http://farm8.staticflickr.com/7040/6945927779_9aef7b5180_z.jpg (http://www.flickr.com/photos/csant/6945927779/)

Larger image and more details over at Flickr (http://www.flickr.com/photos/csant/6945927779/).

I was rather surprised by the slight dark steel blue cast the Platinum got on this paper… as opposed to all other papers I know, where the cast ranges from grey to brown hues…

[tgtaylor]

I like the texture on the paper Claudio. Goes well with the image.

Looks like everybody is getting into alternative photography - myself included! I'm ordering a Corning Scholar warming plate to keep the Kallitype Developer warm between prints. It comes with a free set of 5 Pyrex beakers.

Thomas

[csant]

Thank you Thomas! I am on a quest for papers…

[sly]

Stump, Buttle Lake, Strathcona Park. PdNa2 print on Cot320

[Vaughn]

Nicely seen and printed, Sly!

Vaughn

[jnantz]

this is an in camera lumen exposure using a hand coated glass plate ( dry plate )
and i scanned the image like flat art, and then as a film scan ...

[sly]

Thanks, Vaughn.

[Emil Schildt]

Cille on wood.

4x5" neg. Liquid emulsion on wood.
coloured.

http://www.apug.org/gallery1/files/4/8/8/7/fl-sille-p_-tr.jpg

[Frank_E]

Stump, Buttle Lake, Strathcona Park. PdNa2 print on Cot320

nicely done
I like both the print and the composition
one of these days when i get back out west I would love to have you show me how you do your prints
hope to be back this summer....

[Ken Lee]

Here is an image shot from Tunnel View on a special morning. A very difficult carbon print to make. I'm going to still work on it a bit I think.

Bravo !

[D-tach]

Cille on wood.

4x5" neg. Liquid emulsion on wood.
coloured.



Nice!!! Seems like 'Neo Art Nouveau' :-) I like the composition aswell

Tom

[Jim Fitzgerald]

Thanks, Ken!

[Craig Tuffin]

Here is an image shot from Tunnel View on a special morning. A very difficult carbon print to make. I'm going to still work on it a bit I think.

Beautiful work Jim!

Giving some portraits a rest for the day....back to some macros :rolleyes:

'BONES'

8x10 ambrotype

http://farm8.staticflickr.com/7063/6986538741_d5cec60bf9_b.jpg

[Sergio]

Emil, I love this shot and how creative you always are. bravo!

Here is an image shot from Tunnel View on a special morning. A very difficult carbon print to make. I'm going to still work on it a bit I think.

Hi Jim, I like this shot, great landscape picture and nice atmosphere.

[Jim Fitzgerald]

Craig & Sergio, thanks. I'm going to print this again to see if I can do a bit better in the sky. One of the difficult things in carbon is getting clean skies.

Craig. great detail in that shot! Love it!

[csant]

Snow mountain. Platinum print.


http://farm7.staticflickr.com/6227/7003006363_eec4ea7d04_z.jpg (http://www.flickr.com/photos/csant/7003006363/)

Umesaka Ōri and František Drtikol have been whirling around in my head…
Larger image and more info over at Flickr (http://www.flickr.com/photos/csant/7003006363/).

[matthew blais]

Snow mountain. Platinum print.

That's really a nekkid chick, huh? Or do I have "I see naked people" syndrome?

[Scott Walker]

That's really a nekkid chick, huh? Or do I have "I see naked people" syndrome?

I think I have it as well

[iml]

Here is an image shot from Tunnel View on a special morning. A very difficult carbon print to make. I'm going to still work on it a bit I think.

That's a beautiful shot, would would love to see the print in the flesh.

[csant]

Snow mountain ii. Another platinum print on Kozo paper…


http://farm8.staticflickr.com/7086/7003006369_0388770c87_z.jpg (http://www.flickr.com/photos/csant/7003006369/)

Stil whirling around Umesaka Ōri and František Drtikol…
Larger image and more info over at Flickr (http://www.flickr.com/photos/csant/7003006369/).

[Emil Schildt]

just wanted you to know (if you didn't know before) that toning of cyanotypes can easily be done using a "tea" made of oak tree bark....:cool:

Looks cool! works quick, and is easy to get (if you know where to find oak trees...)

Now I'll experiment with walnut and willow....:rolleyes:

[mdm]

The decayed soft flesh around ripe walnuts may work very well. It stains hands a beautiful chocolate brown for weeks after they have been collecting fallen walnuts. I have been thinking of using it as pigment for carbon prints but its the wrong time here.

[Vaughn]

There was a thriving tan oak bark industry here in the past -- trees stripped and the bark sent by ship down to San Francisco for the cowhide tanning industry. Still plenty of them around. Easier to use tea, but it is a fun thought!

[Emil Schildt]

There was a thriving tan oak bark industry here in the past -- trees stripped and the bark sent by ship down to San Francisco for the cowhide tanning industry. Still plenty of them around. Easier to use tea, but it is a fun thought!

yes - we got the "idea" seeing in tv a guy that wanted to tan cowhide the old way...

I think it is as easy as "normal" tea - even better as we here know what to get... and it is a quick process to make the oak tree tea...

[Emil Schildt]

I have now tried walnut snaps... (walnut in vodka for about 6 months), and it gives a very deep beautiful brown tone - especially in the highlights..

A shame it taste so good...

[Emil Schildt]

examples of oak tree toning:

http://www.apug.org/gallery1/files/4/8/8/7/oak-tree-cyan.jpg

[soeren]

Emil do you "bleach" in e.g a NaOH solution prior to toning?
best regards

[Emil Schildt]

Emil do you "bleach" in e.g a NaOH solution prior to toning?
best regards

no. Not in this case, but I'll experiment with that too..

[Pete Watkins]

Hi Emil,
I'm happy with my cyanotypes so far and I've found that soaking in a tannic acid solution gives me a tone that I prefer up until now but Ithink that your oak toned prints look better. Once you've gathered your oak bark what do you soak it in to extract the pigment?
Best wishes,
Pete.

[Emil Schildt]

Hi Emil,
I'm happy with my cyanotypes so far and I've found that soaking in a tannic acid solution gives me a tone that I prefer up until now but Ithink that your oak toned prints look better. Once you've gathered your oak bark what do you soak it in to extract the pigment?
Best wishes,
Pete.

it is very simple - I made "tea" aka boiling water on the bark and let it stand there to cool. The bottle with the tea is still filled with the bark.... (I suppose it will start to rut at some time..)

Fun!

I am going to experiment with walnut next...

[Pete Watkins]

Thanks so much Emil.
Pete.

[Harold_4074]

it is very simple - I made "tea" aka boiling water on the bark and let it stand there to cool

If you (or anyone else) wants to go the heavy-duty, industrial-strength route, soaking pulverized oak galls (the spheroidal "oak apples" that are the tree's reaction to insect attack) will give you a generous concentration of gallic acid along with miscellaneous other tannins.

For what it is worth, gallic acid is trihydroxybenzene, a first cousin to both catechol and hydroquinone, and like them can be used as a silver halide developer.

[Emil Schildt]

..and now I have tried Walnut. Walnut bark in a bottle - then boiling water on it and let it soak for a long time (mine soaked for at least two days, but I don't know whether that is nessecary..)

Old cyanotype soaked for about 10 min.

http://www.apug.org/forums/attachments/alternative-processes/49082d1333801875-toning-cyanotype-when-you-dont-want-blues-cyan-charlotte.jpg.att

[D-tach]

..and now I have tried Walnut. Walnut bark in a bottle - then boiling water on it and let it soak for a long time (mine soaked for at least two days, but I don't know whether that is nessecary..)

Old cyanotype soaked for about 10 min.

http://www.apug.org/forums/attachments/alternative-processes/49082d1333801875-toning-cyanotype-when-you-dont-want-blues-cyan-charlotte.jpg.att

Photo doesn't show up Emil

Tom

[Emil Schildt]

oh - shows just fine on my computer - others have this problem?

71510

[Vaughn]

Beautiful image on my screen...

[Pete Watkins]

Emil,
It worked at your second attempt. Very nice.
Pete.

[Emil Schildt]

I should maybe put this in the nude section, but I prefer to put it here (have had some really degrading comments in the other thread)

I'll put it as an attachment so

1: you can decide if you want to see it larger..
2: I can remove it again...

"Alternative" in the sense of an alternative toning process...

I made as a 20x24" print - then added bleach/developer/fix on the paper without rinsing between the processes. (used a sponge and a brush).
This made a "war" breake out - the chemistries fought or so it seemed, and this came out....

71572

[jcoldslabs]

Not sure if this counts as "alternative," but...

I took a Polaroid type 54 positive I shot at Yosemite and sandwiched it with an old 9x12cm blank negative that I found in an old German holder. I simply fixed the negative to clear it without development, leaving it scratched, mottled and dusty. The combination gives the image a bit of a worn, vintage look.

http://www.kolstad.us/ebay/Yosemite-%28Fake-Vintage%29.jpg
____________________________________________________________________________________________________

Jonathan

[David Brunell]

Not sure if this counts as "alternative," but...

I took a Polaroid type 54 positive I shot at Yosemite and sandwiched it with an old 9x12cm blank negative that I found in an old German holder. I simply fixed the negative to clear it without development, leaving it scratched, mottled and dusty. The combination gives the image a bit of a worn, vintage look.

____________________________________________________________________________________________________

Jonathan

Thats cool Jonathan, really does have a vintage feel to it.

[tgtaylor]

Palace of Fine Arts, San Francsico

http://farm8.staticflickr.com/7269/7059069509_2970dba7e3_c.jpg

I shot this negative on Friday and unbeknown to me the family appearing in the lower right- hand corner appeared in the frame. The older mother is taking a point-n-shot apparently of the duck while the younger mother and infant look on. I like the addition!

I still have about 20mL left of 300mL of senstizer that I mixed about 3 months ago and decided to make a Vandyke print this morning before the rain starts again tomorrow.

Thomas

Toyo-View 810G, Kodak TXP, 360mm Symmer-S, 140-lb HP Fabriano Aristico.

[jcoldslabs]

I shot this negative on Friday and unbeknown to me the family appearing in the lower right- hand corner appeared in the frame. The older mother is taking a point-n-shot apparently of the duck while the younger mother and infant look on. I like the addition!



I agree; the family in the corner adds to the composition. I like it.

Jonathan

[csant]

Two persimmons. Platinum print on Kozo paper.


http://farm6.staticflickr.com/5276/6925180058_603ca6c8b5_z.jpg (http://www.flickr.com/photos/csant/6925180058/)

Larger image and some more info over at Flickr (http://www.flickr.com/photos/csant/6925180058/).

[David Brunell]

Two persimmons. Platinum print on Kozo paper.

Larger image and some more info over at Flickr (http://www.flickr.com/photos/csant/6925180058/).

Simply beautiful.

[csant]

Simply beautiful.

Thank you, David!

[DarkroomDan]

Simply beautiful.

Claudio, I agree with David. I just spent an hour looking at your work on your Flicker site -- Wonderful!

[csant]

Claudio, I agree with David. I just spent an hour looking at your work on your Flicker site -- Wonderful!

Dan, thank you so much for your kind words!

[tgtaylor]

Palace of Fine Arts, San Francisco

http://farm6.staticflickr.com/5114/7082765965_0ff6cbc718_c.jpg

First attempt with Nicole's Kallitype II Process using Ammonium Citrate and Sodium Acetate as a developer. There is a slight unevenness of the sensitizers which is visible on the left hand side which may be due a result of using a new brush and/or minimal sensitizer. I counted 30 drops each of sensitizers A & B into a small (50mL) beaker which I swirled around before pouring into a plastic salsa condiment cup that I requisitioned from a local El Polo Loco Restaurant for dampening the hake brush.

Exposing to the sun until a "whisper" of a print appeared (2.5 minutes), I poured wholesale the developer onto the print from a 1 liter beaker that came with my Corning laboratory warming plate and was amazed - no shocked - by the instantaneous appearance of a visually fully developed print in the tray! Truly a spectacle to behold.

Toyo-View 810G, Kodax 320 TXP, Fabriano Aristico 140 Lb HP Paper.

Thomas

[D. Bryant]

Palace of Fine Arts, San Francisco

for dampening the hake brush.




Why don't you use a magic brush? It will produce very smooth coatings.

Don Bryant

[Emil Schildt]

I made a large bromoil print of Kala.

Sketchy on purpose.

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

[jcoldslabs]

I made a large bromoil print of Kala. Sketchy on purpose.

Very nice. The brush strokes below her shoulders are just right. They almost look like wings.

Jonathan

[Emil Schildt]

Very nice. The brush strokes below her shoulders are just right. They almost look like wings.

Jonathan

It makes sense: she's an angel... :rolleyes:

[Vaughn]

...I poured wholesale the developer onto the print from a 1 liter beaker that came with my Corning laboratory warming plate and was amazed - no shocked - by the instantaneous appearance of a visually fully developed print in the tray! Truly a spectacle to behold...Thomas

That is how I develop my platinum prints -- always fun to see the image appear as I pour on the warm Potassium oxalate!

I went with this method because I was getting some bleeding of the platinum from the rebate into the image area when sliding the print into a tray of developer. With the developer hitting the center and moving outwards, I no longer have that problem.

I use a rod (Puddle Pusher), then finish up with a brush -- I like the combo.

Vaughn

[David Brunell]

"I use a rod (Puddle Pusher), then finish up with a brush -- I like the combo"

That is a good idea Vaughn.

[Vaughn]

Yeah -- it gets the solution spread quickly in the right size and shape, but without worrying too much about abrading the softened paper with the rod (I do about 4 passes with the rod).

[Emil Schildt]

I made two images with music as inspiration.Both based on old legends. Both involving the flute.

This is Undine.

Music: "Undine" by Cark Reiniche for flute and piano.

Bromoil print.

Pol 665 cropped to a square. Sinar Norma.

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

And this is Syrinx.

Music: "Syrinx" for flute solo by Claude Debussy.

Pol 665. Sinar Norma

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

[Corran]

Gandolfi, as a flutist and having played both of those pieces multiple times - bravo! I would love prints of these but I doubt I could afford it.

[Emil Schildt]

Gandolfi, as a flutist and having played both of those pieces multiple times - bravo! I would love prints of these but I doubt I could afford it.

Thanks Bryan. I'm a flautist my self.... and have played these often - just loved to play Rechnicke - almost as much as playing Nielsen....

These images are one of a kind.. that's how (my) bromoil(s) is/are..

Thanks again.

[Michael Mutmansky]

The decayed soft flesh around ripe walnuts may work very well. It stains hands a beautiful chocolate brown for weeks after they have been collecting fallen walnuts. I have been thinking of using it as pigment for carbon prints but its the wrong time here.

I've done some wool yarn dyeing with walnuts. It dyes wool to a nice yellow color, but not terribly dark somewhat surprisingly considering the level of stain shown on hands!


---Michael

[GSX4]

Here's one I did last night.... The gnome was given to me by a friend. Her father designed it for some customer many years back and gave her some of the prototypes. My friend painted it a little and then sent to me to do a wet plate. I added some other props that I had collected that seem to work well in wet plate.

Anyhow, the gnome was up to no good, and played his version of the game 'Operation' with obvious consequences! Shot with Chamonix 810 using a Hermagis lantern petzval. Shot full 8x10 on aluminum using Old Work Horse collodion. Exposure was 12 seconds @ F4 (lots of bellows)

72406

[jcoldslabs]

^ Sinister!

[tgtaylor]

Water Temple, 2012 California

http://farm6.staticflickr.com/5039/7099086185_0d1e2cbea6_c.jpg

Located in the San Francisco Bay Area at Sunol, California, the temple was constructed in 1910 by the Spring Valley Water Company and modeled after the ancient Temple of Vesta in Tivoli, Italy from a design by Willis Polk. It was constructed atop the spot where three subterranean water sources converged: a pipe from the Arroyo de la Laguna, Alameda Creek, through the Sunol infiltration galleries, and a 30-inch pipeline from the artesian well field of Pleasanton, California.

The inscription reads: "I will make the wilderness a pool of water and the dry lands springs of water. [Isaiah 41:18b] The streams whereof shall make glad the city. [Psalms 46:4] S.V.W.C. MCMX [Spring Valley Water Company 1910]"

Printed on 140 lb HP Fabriano Aristrico from a Kodak TXP negative.

Thomas

[mdm]

http://1.bp.blogspot.com/-27Xv41NWhNk/T5MqElrZUVI/AAAAAAAABJo/dig3sVXnABs/s1600/poplarsc.jpg
Carbon Transfer from 5x7 camera negative. On glossy pearlescent Hahnmule Brittania. Pigment is neutral black, matte, with violet tint. Actually works quite well and is very sharp, though the scan isnt.

[Jim Fitzgerald]

David, very nice. It is hard to scan some prints and have them look good. I can imagine the real print is something too see. Congrat's.

[D. Bryant]

Carbon Transfer from 5x7 camera negative. On glossy pearlescent Hahnmule Brittania. Pigment is neutral black, matte, with violet tint. Actually works quite well and is very sharp, though the scan isnt.

Nice work David!

Don Bryant

[mdm]

Slightly dodgy but pleasant to look at anyway. If I like theese little ones I tape them into a cheap 8x10 frame with a 5x7 mat and look at them for a while. Too many prints of mine have been banished to a box before I really appreciated them. Soon I will be inflicting 11x14s from xray film on you all, along with the digital negative ones too. I decided to make the comparison first hand, because the costs stack up ok.

[Leigh]

Water Temple, 2012 California
Very nice shot, Thomas. Great job taming the high contrast range.

- Leigh

[csant]

David, it is a beautiful print and deserves more than "just" a box! :)

[csant]

One persimmon. Platinum print on Kozo paper.


http://farm8.staticflickr.com/7252/6925180062_1cb74c0c9e_z.jpg (http://www.flickr.com/photos/csant/6925180062/)

Larger image and some more info over at Flickr (http://www.flickr.com/photos/csant/6925180062/).

[tgtaylor]

Very nice shot, Thomas. Great job taming the high contrast range.

- Leigh

Thanks Leigh. I'm going to reshoot this in Infrared this coming week. The green grass and white columns should contrast nicely with a dark sky.

BTW, I forgot to mention that one-half of San Francisco's daily water supply passed through this temple prior to the completion of Hetch Hetch and the aquaduct.

Thomas

[mdm]

http://3.bp.blogspot.com/-7bja8jbP_PE/T5ZyghmQeyI/AAAAAAAABKA/-SalSwW2PEA/s1600/stumpc.jpg
Carbon transfer from 5x7 delta 100 negative. Printed very similar to my scan.

[mdm]

http://3.bp.blogspot.com/-o-qkdg9CqKI/T5ZyXk_EzHI/AAAAAAAABJ0/TQLp1wHklcM/s1600/log2.jpg
Carbon transfer from 5x7 Delta 100 negative on Fabriano. Slight crop due to light leak.

[Iga]

I'm not sure if lith print is alternative enough...
5x7 contact lith print.
G Claron 240mm at f16
72646

[mdm]

Beautiful tone. When I was a child I saw a article in a camera book with Zebra and other wildlife lith printed, I was captivated, but dont have a darkroom now.

[D. Bryant]

I'm not sure if lith print is alternative enough...
5x7 contact lith print.
G Claron 240mm at f16


Looks like you have it nailed!:)

[Iga]

Thanks guys. Got a dozen of 16th century nails and just trying to do something with them...
So, more nails soon..
Best,
Igor.

[Jess C]

"Left Mitten", Monument Valley, Arizona

Image 9"x12", Vandyke Brown Print

http://www.largeformatphotography.info/forum/attachment.php?attachmentid=72702&d=1335408108

72702

[David Brunell]

"Left Mitten", Monument Valley, Arizona

Image 9"x12", Vandyke Brown Print


72702

That is great Jess C! I am interested to know if you used toner of any type?

[Jess C]

That is great Jess C! I am interested to know if you used toner of any type?

Hey David, no toner used. Just plain water rinse followed by a 30 second fix and then a final archival wash. The paper I used for this print was Arches BFK Rives paper. The image was contact printed and exposed by sunlight for 6 minutes.

[David Brunell]

Very nice work, I really like it.

[Jess C]

Sycamore Tree at Fish Creek

http://www.largeformatphotography.info/forum/attachment.php?attachmentid=72711&d=1335411279

72711

[Jess C]

Very nice work, I really like it.


Thank you for the compliment. It is very much appreciated.

Jess

[taimaster2005]

5x7 Wet Plate positive tintype. 5 sec exposure at f4.5

72759

-Tai
www.derivedlogic.com

[Andrew O'Neill]

Now that's probably the creepiest tintype I've ever seen.

[taimaster2005]

Now that's probably the creepiest tintype I've ever seen.

Thanks, I'll take that as a compliment!

[Jim Fitzgerald]

I thought I'd put this over in this thread as well. It is in the Galli thread but since it is a carbon print I thought I'd put it up here. A bit of a new direction for me.

[Andrew O'Neill]

Compliment intended!

[Vaughn]

I thought I'd put this over in this thread as well. It is in the Galli thread but since it is a carbon print I thought I'd put it up here. A bit of a new direction for me.

Good looking image! And a side benefit -- it does not matter if the wind is blowing the branches on long exposures if the tree is not sharp anyway! LOL!

Vaughn

[David Brunell]

5x7 Wet Plate positive tintype. 5 sec exposure at f4.5

72759

-Tai
www.derivedlogic.com

Thats bad-ass!

[Jim Fitzgerald]

Good looking image! And a side benefit -- it does not matter if the wind is blowing the branches on long exposures if the tree is not sharp anyway! LOL!

Vaughn

Vaughn, good point. I thought I'd go back to 1880? The print is very nice.

[Andrew O'Neill]

Xray film. Digital negative. Carbon transfer print...

[tgtaylor]

Pulgas Water Temple

http://farm9.staticflickr.com/8159/7128843877_59fd173895_c.jpg

Located in San Mateo County just west of the scenic 280 route between San Francisco and San Jose, the temple was constructed in 1938 after a design by architect William G. Merchant to commerate the completion of the Hetch Hetchy Aqueduct. It is similar to the Sunol temple in design but lacks a roof and the interior art work found at Sunol. For further information on this structure see:
http://en.wikipedia.org/wiki/Pulgas_Water_Temple

I'll be re-photographing this later this week from a better vantage point and when there is no clouds as visible in the upper left.

Printed as a Van Dyke on 90lb Lanaquarelle HP paper.

Thomas

[mdm]

http://3.bp.blogspot.com/-Go_l2SPCBSg/T59fhG3lMTI/AAAAAAAABKo/jcNfTFm77SA/s1600/treeinsun.jpg
Tree in sunlight. 5x7 Delta 100, Carbon transfer on rod sized cold press fabriano.

[mdm]

http://3.bp.blogspot.com/-Gv-NSCMqtCw/T59fybzkqBI/AAAAAAAABLA/zA8A833PAgo/s1600/window.jpg
Window to the past. 5x7 Delta 100, Carbon transfer on cold pressed Fabriano. Lots of fine wood and brick detail in the print, windy though.

[Tri Tran]

My new carbon print work .

The Burning log
http://img717.imageshack.us/img717/2445/burninglog.jpg (http://imageshack.us/photo/my-images/717/burninglog.jpg/)

Foresta fall, Yosemite
http://img198.imageshack.us/img198/7875/fallsf.jpg (http://imageshack.us/photo/my-images/198/fallsf.jpg/)

[mdm]

http://4.bp.blogspot.com/-hifD3q7huKA/T59fpTUd6TI/AAAAAAAABK0/csVKaXuP2PI/s1600/house.jpg
Another from the same session. Same details. Old school look even though it was made with a very modern lens and film and is very detailed in person.

[tgtaylor]

Pulgas Water Temple

http://farm9.staticflickr.com/8159/7128843877_59fd173895_c.jpg

Located in San Mateo County just west of the scenic 280 route between San Francisco and San Jose, the temple was constructed in 1938 after a design by architect William G. Merchant to commerate the completion of the Hetch Hetchy Aqueduct. It is similar to the Sunol temple in design but lacks a roof and the interior art work found at Sunol. For further information on this structure see:
http://en.wikipedia.org/wiki/Pulgas_Water_Temple

I'll be re-photographing this later this week from a better vantage point and when there is no clouds as visible in the upper left.

Printed as a Van Dyke on 90lb Lanaquarelle HP paper.

Thomas

Here's the Water Temple printed as a Kallitype (KII process) on 140Lb Lanaquarelle HP paper - the same weight as the image above which was misquoted. They look similar both there is a pronounced difference in coloration between them with the Kallitype being the more colorful. This print was overexposed by about 30 seconds. I can't wait to reshoot and reprint this.

http://farm9.staticflickr.com/8159/7134346991_a3e7d11e6f_c.jpg

Thomas

[Tri Tran]

I hope you guys don't mind to see my work behind the scene.
A 14x17 Black Oak Carbon transfer .

http://img546.imageshack.us/img546/350/14x17u.png (http://imageshack.us/photo/my-images/546/14x17u.png/)

[David Brunell]

I hope you guys don't mind to see my work behind the scene.
A 14x17 Black Oak Carbon transfer .

Beautiful Tri Tran, the work on your website is equally outstanding!

[Tri Tran]

Thanks David. Appreciated. Lots of work for this size but real worth it when you see it in person.

[Jim Fitzgerald]

Tri, awesome! Lucky for me I know what the prints look like! Can't wait to see the 14x17.

[Tri Tran]

Tri, awesome! Lucky for me I know what the prints look like! Can't wait to see the 14x17.

I know you did but you haven't seen these yet. Two more 14x17 succesfully transfer today from the Black Oak Series, Yosemite. 4 more to go then 20x24 will be next. I will show you at the show.

http://img444.imageshack.us/img444/6482/214x17.png (http://imageshack.us/photo/my-images/444/214x17.png/)

[mdm]

http://3.bp.blogspot.com/-yOPcNiwPYvY/T6NzSqUfG3I/AAAAAAAABLQ/Y97NbkF9lOU/s1600/bark.jpg
From todays printing session with high dmax warm tissue on HP Fabriano.
5x7 Delta 100 and 8 1/4 Dagor
Print has a beautiful luminosity that makes it hard to put down.

[mdm]

http://3.bp.blogspot.com/-_Z8lJauaE70/T6N5PG_lcvI/AAAAAAAABLg/g_JN_t2RPOU/s1600/gorse.jpg
From todays printing session with high dmax warm tissue on HP Fabriano.
5x7 Delta 100 and 8 1/4 Dagor
Print very sharp and contrasty. Dmax 1.9 something.

[csant]

I love coffee… and platinum :)


http://farm6.staticflickr.com/5279/7177192718_eab8549e11_z.jpg (http://www.flickr.com/photos/csant/7177192718/)

Larger image and more details over at Flickr (http://www.flickr.com/photos/csant/7177192718/).

[Colin Graham]

Ha, that's great. I drift off some mornings waiting for it to steep too.

[csant]

Thank you Colin! This actually is my girlfriend drifting off after lunch in the midday heat… :)

[sly]

Yesterday's carbon work. I conquered frilling by masking all the rebate. (Last summer a thin frame of rebate didn't cause problems.) I've been having some difficulties getting a brush-stroke-free coating of sensitizer, but these are better. My favorite is the moonsnail, maybe because I made many attempts at it, bouncing between too dark, and blown detail in the snail.

[Tri Tran]

Yesterday's carbon work. I conquered frilling by masking all the rebate. (Last summer a thin frame of rebate didn't cause problems.) I've been having some difficulties getting a brush-stroke-free coating of sensitizer, but these are better. My favorite is the moonsnail, maybe because I made many attempts at it, bouncing between too dark, and blown detail in the snail.

Hi Sly.
I love them all especially the snail print. What a contrast ! They are look perfect to me . Thanks for showing.

[Vaughn]

Nicely done, Sly!

What is your sensitizer strength?

Vaughn

[sly]

Thanks Tri and Vaughn.
They are different dilutions. The snail and the truck are using 0.8%, Mount Benson is 1.6%, and the arbutus is 2.4%. These may seem like strange dilutions, but I found it easier to mix up different dilutions from my 8% stock solution on a decimal system. 1ml stock to 9 ml H2O, is 0.8%. 2ml stock to 8ml H2O is 1.6%. I've probably got my math wrong. I'm sure there's a perfectly sensible and straight forward way to arrange things otherwise, so the dilutions don't have decimal points. PLEASE, though, don't confuse me with common sense. As long as I'm consistent, I figure it will work for me.