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> Damage To Negatives During Van Dyke Process |
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#1
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Damage To Negatives During Van Dyke Process
Hello everyone,
This may be a stupid question but I am slightly worried about damaging my negatives and I can't seem to find out from any of the reference material I have. I am going to experiment with the Van Dyke process and wanted to know if any damage occurs to your negatives after it has been in contact with the Van Dyke emulsion, as they are held tightly together in the contact frame. If anyone could put my mind to rest that would be much appreciated! Thanks, Louis |
#2
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Get very thin mylar sheets and interpose one. It shouldn't interfere with the sharpness. I've done this with argyrotypes and it's been fine.
Mind you, I've looked up Van Dyke in both Spirits of salts and Christopher James's The book of alternative photographic processes and neither suggests a contamination problem here. But if in doubt, try the mylar. Last edited by Michael; 29th May 2014 at 05:05 PM. Reason: the follow-up comment |
#3
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I have made quite a few Van Dykes recently, without using mylar sheets, and haven't had any problems at all. But what you must do is to make sure the Van Dyke sensitizer is 100% dry before you put your negative into contact with it. You can use a hair dryer on the lowest setting for a very brief time or an RC paper print dryer in the same way. I started off with a hair dryer but found I could do more sheets with my RC print dryer. Alternatively leave the sheets to dry naturally in the darkroom. If your darkroom is heated this shouldn't take long. If you want to be absolutely sure use mylar of course. However, I have made many Vandykes, Cyanotpes and Salt Prints successfully. Your negative will only stick to the sensitizer if the sensitizer is not 100% dry.
Neil.
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"The aim of art is to represent not the outward appearance of things, but their inward significance." Aristotle Neil Souch |
#4
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Thank you both very much, I will have an experiment and see what happens. Has anyone ever done any tests to see how long sensitized paper keeps?
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#5
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From Mike Ware's webpage (mikeware.co.uk) remarks on argyrotype printing: "The sensitized paper should be used within a few hours, unless a desiccated box is available for longer term storage: shelf life in a dry environment is at least a week". As this is a related process, maybe what he says would apply to Van Dyke printing too.
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#6
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I have never tried keeping sensitised paper for more than a few hours. I find it more convenient to do about four sheets at time for a session and use them up to ensure consistent results.
These alternative processes take quite a while from print to print - plus the time needed for evaluations and adjustments etc. So four sensitised sheets usually keeps me occupied for a morning. Once you get the hang of coating the paper you will start to enjoy it as this is all part of the creative process and where you will leave your signature. When I first started I found coating to to be a real chore but now I look forward to getting the brushes out Neil.
__________________
"The aim of art is to represent not the outward appearance of things, but their inward significance." Aristotle Neil Souch |
#7
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Quote:
The Argyrotype is an iron-based silver printing process that was derived from the Argentotype, Kallitype, and Van Dyke processes. It was created by Dr Mike Ware and has improved image stability, and longer sensitizer shelf-life. If stored as Mike suggests I would be happy to take his recommendations on board for Van Dykes but of course it would be wise to run a small sample test first. Neil.
__________________
"The aim of art is to represent not the outward appearance of things, but their inward significance." Aristotle Neil Souch |
#8
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Agreed, Neil: I intended my last post to have a tentative sort of look!
On coating - this thread would have me preparing some cyanotype paper if the weather weren't so good. I think I'll take the 7x5 to the seaside instead. |
#9
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Quote:
A good idea, Mike. Come back with some nice keepers Neil.
__________________
"The aim of art is to represent not the outward appearance of things, but their inward significance." Aristotle Neil Souch |
#10
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Unsharp contact prints
To make a blurred contact print (for an unsharp mask, for instance) use a transparent interleaving sheet and a relatively large lightsource. I used to adjust the width of the 'halo' (and thereby the unsharpness) by swinging the lamp in a circle. To get a sharp contact print I think you would need a very thin interleave and a compact filament lamp, well-spaced from the printing frame.
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