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> What's your favourite alt process? |
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#21
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It's relatively simple to build a useable UV lightbox. Once you've got the parts collected it takes only a few hours to put one together. I've recently finished my second which incorporates a vacuum frame for big prints.
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Visit me at www.ianleake.com |
#22
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The silver print is my favourite alternative process as the digital print is by far the norm used today.
JON.
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JB-Creative Imagery Jon Butler. http://real-silver-prints.com/ "I Prefer it in the Dark" |
#23
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Lith but looking to do platinum/palladium
I've done some lith, and I would like to try platinum/palladium. I have been working primarily with 120 film, but want to learn how to make digital negatives as I have some digital images that I would like to do as lith prints.
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#24
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Salt Prints
The great thing about salt prints is their momentary splendour before the colour changes. Even with flash photography using kodachrome or scanning it’s just not the same as the few seconds you view a salt print before it changes. As I have mentioned in articles about this process, it must have been one of Talbot’s greatest regrets, the inability to arrest this form of image and if you study his notebooks, you can see that he keeps experimenting with this process, even after he discovers better halogen chemistry.
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#25
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Sorry, I should say more practical halogen chemistry.
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#26
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Took a Platinum/Palladium workshop with Tilman Crane a year ago this past November, and it has since been my primary printing method. Tried NA2, Ratio & Dichro, and with guidance from Ian Leake's book have settled on Dichro. Usually print on COT 320, but plan on trying Craig Koshyk method of printing on fixed photo paper.
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vanHuyckPhoto |
#27
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Thanks for the link Doug it sounds very interesting. If you try it please let us know how you get on.
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Cheers, Barry |
#28
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Until this past summer cyanotypes had been it for alternative processes but after a John Coffer workshop I am now working on wet plate negative, ambrotypes and tintypes.
Paul |
#29
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During the summer I spent a bit of time making albumen prints from negatives exposed in a home-made pinhole camera. The original plan was to make the paper as well, but I ran out of time. I'm now working on that aspect for 2011.
I've scanned and attach the most successful attempt. There's been a bit of printing out over time (see the blotches at top), presumably as it was not fixed adequately. However, I found the fixing stage difficult as what appeared as a reasonable contrast picture faded alarmingy in the fix- the attached was snatched from the fix before it disappeared. I'd be grateful for any advice about this part. I rarely post prints for view as I never feel they're up to snuff, and that goes for the attached, but in this case it serves to illustrate a point. I'm currently on pinhole camera marque four- which was built for 4x5 film (previous versions were for 10x8 paper negatives)- but I'm struggling with the exposures. I am in the process of beginning to do gum prints and would like to try bromoil, but not sure if I have the patience. Earier today, before I read this thread, I had an unsuccessful attempt at a solvent transfer from a photocopy of a B+W print- but I must have had the wrong solvent. Otherwise I do a lot of lith printing, in fact more lith than plain B+W, so not sure I'd call it alternative. Anyway, an interesting thread. Wiesmier, if you're still on this thread, was that you interviewed on TV the other nght in programme about the Outer Hebs? Niall |
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