post alternative techniques

[paulbarden]

Like Rick, I typically expose at least two sheets of film for any given scene, especially if my intent is to make the negative useful for Salt or Kallitype processes, and keep one for silver gelatin printing. Exposure and development has to be engineered specifically for each use case. I may expose a third (or even fourth) sheet of film and vary the exposure very slightly, so I have options when developing time comes.

An ideal negative for Salt printing has to be more contrasty and with denser high values than one for Kallitype, but both processes require a negative that would barely be printable with a 00 grade filter on silver gelatin.

[paulbarden]

Nice, Rick; very nice!

Kalliytypes take a dense negative?

If you're interested in diving deeper into the making of in-camera negs for Salt/Kallitype printing, I highly recommend Ellie Young's paper, "MECHANISMS OF CONTROLLING COLOUR AND AESTHETIC APPEARANCE OF THE PHOTOGRAPHIC SALT PRINT".

[Kino]

If you're interested in diving deeper into the making of in-camera negs for Salt/Kallitype printing, I highly recommend Ellie Young's paper, "MECHANISMS OF CONTROLLING COLOUR AND AESTHETIC APPEARANCE OF THE PHOTOGRAPHIC SALT PRINT".

Thank you Paul for that link.

[paulbarden]

Thank you Paul for that link.

You're welcome. I learned a lot about making in-camera negs from Ellie's paper.

[PRJ]

White Sands NM. Toned cyanotype. Polaroid 110 conversion, Ilford HP5, Pyrocat.

[Rick A]

Now that's beautiful

[Dugan]

PRJ, that's gorgeous!
Bravo!

[Vaughn]

White Sands NM. Toned cyanotype. Polaroid 110 conversion, Ilford HP5, Pyrocat.

Beautiful

[PRJ]

Jeesh guys I'm blushing...

Is this a liberal or a 4x5 only thread?

Here is a salt print. Speed Graphic, HP5, Boyer Zircon 210mm, Fabriano Studio. I haven't done many salt prints, maybe a couple dozen. I'm planning on doing more when I get around to it.

[jnantz]

4x5 print made with liquid emulsion and hand coated paper photographed in morning light