Easy enough to be tetchy after the holiday and having to go back to work! Thanks very much for the answers, though, as I'm sure a project like this is in my future. The old engine came out well!
Robert
Easy enough to be tetchy after the holiday and having to go back to work! Thanks very much for the answers, though, as I'm sure a project like this is in my future. The old engine came out well!
Robert
Gorgeous!Originally Posted by Nodda Duma
Denise Ross
www.thelightfarm.com
Dedicated to the Craft of Handmade Silver Gelatin Paper, Dry Plates, and Film
Wonderful Pic, its the first example I have seen of a positive outcome with dry plate, well done! I, like the rest of you have spent hours in the dark icing noodles and the like. I have plates made up, but am apprehensive in using them to delay the feeling of disappointment once again. I think my problem is exposure lengths. It seems it is in the ballpark of collodion speed. As for adding the silver, I use the old syringe trick, cant say it works well I don't seem to be able to get enough picture to tell. Good luck to you its great to see a success
Hi Andrew,
My latest batch is about ISO 0.5, and required a 45 second exposure at f/11 for the picture above. I metered EV values of 10 or so in the shaded portions. It was still a little thin (likely due to reciprocity?) but it was close enough to make a good print. I had to dodge the sunny areas.
This is just about in line with the sunny 16 rule. So EV15 (sunny scene) gets about a 2s exposure at f/16
I'd think you would want to be in that ballpark. You can also test for exposure similar to testing exposure times for prints on the enlarger. I.e use the dark slide to increasingly expose the plate a section at a time, like 1s, 2s, 4s, 8s, 16s etc., each corresponding to 1 stop increase. Do this at f/32 against a sunlit scene and you'll cover the possible range of ISO values (~0.2 - 4) at which your emulsion could be sitting.
If you still need to increase speed, make sure to ripen the emulsion by raising the temperature of the emulsion to 130F and holding for 15 minutes before slowly decreasing to 104F to coat.
Newly made large format dry plates available! Look:
https://www.pictoriographica.com
really nice !
its great you are making prints of these
i hope you are having a bi-annual exhibit at your
library ( where you showed your work before ? ).
i'm certain the scan looks nice but in person
the print must sing.
Read a bit of your blog. Good stuff!
Tin Can
The print is gorgeous...even my wife liked it (the ultimate judge). I'll be donating a copy to the fire department for sure, and might well take one in to the library.
The studio I had prints for sale at is the Wild Salamander in Hollis NH. They are renovating their shop, so I don't have anything there right now. When they reopen I might be tempted to bring this one in.
Newly made large format dry plates available! Look:
https://www.pictoriographica.com
Thanks for the advice Nodda, I have Mark Ostermans book and follow it to the letter, I did have some partial success with about iso 5-8 ?? ish. As you say all depends on light conditions. Will have to get those plates out and try them......
Has anyone ever ordered cut glass plates from these guys I saw earlier in this thread? (Mamut Photo in the Czech Republic)I called one of my local glaziers and they quoted me $5.00/plate fir 4x5 plates with polished edges. I only have called one place, but that seems a ridiculous price to me. Any help is appreciated!
Mamut is an active company in the wet plate crowd. Have seen them at events. No experience myself, but worth a try.
FotoImpex also offers glass plates nowadays. Probably still not cheapest solution, but prices seem reasonable.
For experiments I often take cheap photo frames from local manufacturing stores. ;-)
Cheers
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