post alternative techniques

[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.

Manda Cart by Andrew O'Neill, on Flickr

[mono]

Argyrogram

[bob carnie]

https://dylanellisgallery.wordpress....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!

Nice idea, I'd really like to see

[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